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All Things Must Pass

February 01, 2023

This article is about the album. For other uses, see All Things Must Pass (disambiguation).

All Things Must Pass is the third studio album by English rock musician 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.

All Things Must Pass
Studio album by
George Harrison
Released27 November 1970 (1970-11-27)
RecordedMay–October 1970
StudioEMI, Trident and Apple (London)
GenreRock,[1] folk rock
Length106:00
LabelApple
ProducerGeorge Harrison, Phil Spector
George Harrison chronology
Electronic Sound
(1969) 		All Things Must Pass
(1970) 		The Concert for Bangladesh
(1971)
Singles from All Things Must Pass
  1. "My Sweet Lord" / "Isn't It a Pity"
    Released: 23 November 1970 (US)
  2. "My Sweet Lord"
    Released: 15 January 1971 (UK)
  3. "What Is Life"
    Released: 15 February 1971 (US)
Alternative cover
Cover of the 2001 reissue

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".[2] Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, Melody Maker's Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!"[3] 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.[4]

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. Among its appearances on critics' best-album lists, All Things Must Pass was ranked 79th on The Times' "The 100 Best Albums of All Time" in 1993, while Rolling Stone placed it 368th on the magazine's 2020 update of "The 500 Greatest Albums of All Time". In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.

Background

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").[5] At Woodstock in November,[6] Harrison started a long-lasting friendship with Bob Dylan[5] and experienced a creative equality with the Band that contrasted with John Lennon and Paul McCartney's dominance in the Beatles.[7][8] He also wrote more songs,[9] renewing his interest in the guitar after three years studying the Indian sitar.[10][11] As well as being one of the few musicians to co-write songs with Dylan,[5] Harrison had recently collaborated with Eric Clapton on "Badge",[12] which became a hit single for Cream in the spring of 1969.[13]

 
Billboard ad for Harrison's Wonderwall Music soundtrack (1968)

Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles,[14][15] 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.[16] 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.[17] He also recorded with artists such as Leon Russell[18] and Jack Bruce,[19] and accompanied Clapton on a short tour with Delaney Bramlett's soul revue, Delaney & Bonnie and Friends.[20] 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.[21] 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).[22] In January 1970,[23] Harrison invited American producer Phil Spector to participate in the recording of Lennon's Plastic Ono Band single "Instant Karma!"[24][25] 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),[26][27] and later co-producing All Things Must Pass.[28]

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.[29][30][nb 1] On 25 February, his 26th birthday,[33] Harrison recorded demos of "All Things Must Pass" and two other compositions that had received little interest from Lennon and McCartney at Twickenham.[34][35] 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.[36][37] He began talking publicly about recording his own album from the autumn of 1969,[38][39] but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970.[40] Included as part of the promotional material for McCartney's self-titled solo album, this announcement signalled the band's break-up.[41] Despite having already made Wonderwall Music (1968), a mostly instrumental soundtrack album, and the experimental Electronic Sound (1969),[42] Harrison considered All Things Must Pass to be his first solo album.[43][nb 2]

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.[47]

– Phil Spector, on first hearing Harrison's backlog of songs in early 1970

Spector first heard Harrison's stockpile of unreleased songs early in 1970, when visiting his recently purchased home, Friar Park.[47] "It was endless!" Spector later recalled of the recital, noting the quantity and quality of Harrison's material.[48] Harrison had accumulated songs from as far back as 1966; both "Isn't It a Pity" and "Art of Dying" date from that year.[49] He co-wrote at least two songs with Dylan while in Woodstock,[50] one of which, "I'd Have You Anytime", appeared as the lead track on All Things Must Pass.[51] Harrison also wrote "Let It Down" in late 1968.[52]

He introduced the Band-inspired[53] "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.[54][55][nb 3] The tense atmosphere at Twickenham fuelled another All Things Must Pass song, "Wah-Wah",[59] which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969.[60] Harrison later confirmed that the song was a "swipe" at McCartney.[61] "Run of the Mill" followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles[62] amid the business problems surrounding their Apple organisation.[63] 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;[64] "Behind That Locked Door" was Harrison's message of encouragement to Dylan,[65] written the night before the latter's comeback performance at the Isle of Wight Festival;[66] and Harrison began "My Sweet Lord" as an exercise in writing a gospel song[67] during Delaney & Bonnie's stopover in Copenhagen in December 1969.[68][nb 4]

"I Dig Love" resulted from Harrison's early experiments with slide guitar, a technique to which Bramlett had introduced him,[67] in order to cover for guitarist Dave Mason's departure from the Friends line-up.[71] 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;[72][73] "Ballad of Sir Frankie Crisp (Let It Roll)", a tribute to the original owner of Friar Park;[74] and "Beware of Darkness".[75] The latter was another song influenced by Harrison's association with the Radha Krishna Temple,[76] and was written while some of the devotees were staying with him at Friar Park.[77]

On 1 May 1970, shortly before beginning work on All Things Must Pass, Harrison attended a Dylan session in New York,[78] during which he acquired a new song of Dylan's, "If Not for You".[59] Harrison wrote "Apple Scruffs", which was one of a number of Dylan-influenced songs on the album,[79] 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.[73][80]

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.[81] 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".[82] 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.[83] Rob Mitchum of Pitchfork describes the album as "dark-tinged Krishna folk-rock".[84]

The recurrent lyrical themes are Harrison's spiritual quest, as it would be throughout his solo career,[85] and friendship, particularly the failure of relationships among the Beatles.[86][87] 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".[88]

Apple Jam

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,[89] or in the case of "Out of the Blue", a single-chord riff.[90] The title for "I Remember Jeep" originated from the name of Clapton's dog, Jeep,[91] and "Thanks for the Pepperoni" came from a line on a Lenny Bruce comedy album.[92] 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."[93][nb 5]

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.[95] Like all the "free" tracks on the bonus disc,[96] "It's Johnny's Birthday" carried a Harrison songwriting credit on the original UK release of All Things Must Pass,[97] 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.[98] In December 1970, "Congratulations" songwriters Bill Martin and Phil Coulter claimed royalties,[95] with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.[91]

Demo tracks and outtakes

Aside from the seventeen songs issued on discs one and two of the original album,[99] 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.[100][101] 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."[102][nb 6]

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![103][104] The six songs are: "Window, Window", another song turned down by the Beatles in January 1969;[105] "Everybody, Nobody", the melody of which Harrison adapted for "Ballad of Sir Frankie Crisp";[103] "Nowhere to Go", a second Harrison–Dylan collaboration from November 1968 (originally known as "When Everybody Comes to Town");[106] and "Cosmic Empire", "Mother Divine" and "Tell Me What Has Happened to You".[30][107] Also from this performance were two tracks that Harrison returned to in later years.[100] He completed "Beautiful Girl" for inclusion on his 1976 album Thirty Three & 1/3.[30] "I Don't Want to Do It", written by Dylan, was Harrison's contribution to the soundtrack for the 1985 film Porky's Revenge![59]

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".[108][109] Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed solo album on Apple Records.[110] After releasing his own versions of "Try Some, Buy Some" and "You",[111] 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.[112] "Woman Don't You Cry for Me", written in December 1969 as his first slide-guitar composition,[113] was another song that Harrison revisited on Thirty Three & 1/3.[71] Harrison included "I Live for You" as the only all-new bonus track on the 2001 reissue of All Things Must Pass.[114] "Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii"[115] for his final studio album, the posthumously released Brainwashed (2002).[116]

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:[117]

Contributing musicians

 
Jim Gordon, Carl Radle, Bobby Whitlock and Eric Clapton formed Derek and the Dominos while participating in the sessions for All Things Must Pass.

The precise line-up of contributing musicians is open to conjecture.[120][121] 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.[122][123] In 2002, music critic Greg Kot described it as "a who's who of the decade's rock royalty",[54] while Harris writes of the cast taking on "a Cecil B. De Mille aspect".[59]

The musicians included Bobby Whitlock, Jim Gordon, Carl Radle, Bobby Keys, Jim Price and Dave Mason,[124] all of whom had recently toured with Delaney & Bonnie.[125] 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,[126] the latter formerly of Manfred Mann and a friend since the Beatles' years in Hamburg.[127] Handling much of the keyboard work with Whitlock was Gary Wright,[120] who went on to collaborate regularly with Harrison throughout the 1970s.[128]

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.[30]

– George Harrison, December 2000

From within Apple's stable of musicians, Harrison recruited the band Badfinger, future Yes drummer Alan White, and Beatles assistant Mal Evans on percussion.[129][130] Badfinger drummer Mike Gibbins' powerful tambourine work led to Spector giving him the nickname "Mr Tambourine Man", after the Dylan song.[59] 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".[131] 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".[73] Other contributors included Procol Harum's Gary Brooker, on keyboards, and pedal steel player Pete Drake,[132] the last of whom Harrison flew over from Nashville for a few days of recording.[133]

Adding to his and Badfinger's acoustic guitars on some All Things Must Pass tracks, Harrison invited Peter Frampton to the sessions.[134] Although uncredited for his contributions, Frampton also played acoustic guitar on the country tracks featuring Drake;[134] he and Harrison later overdubbed further rhythm parts on several songs.[134][nb 7] Orchestral arranger John Barham also attended the sessions, occasionally contributing on harmonium and vibraphone.[137] 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".[138][nb 8] Ginger Baker, Clapton's former bandmate in Cream and Blind Faith, played drums on the jam track "I Remember Jeep".[109]

For contractual reasons, on UK pressings of All Things Must Pass, Clapton's participation on the first two discs remained unacknowledged for many years,[123][141] although he was listed among the musicians appearing on the Apple Jam disc.[142][143][nb 9] A pre-Genesis Phil Collins played congas at a session for "Art of Dying".[59] Harrison gave him a credit on the 30th anniversary reissue of the album,[149] but Collins' playing does not appear on the track.[150][151] Unsubstantiated claims exist regarding guest appearances by John Lennon,[152] Maurice Gibb[153] and Pink Floyd's Richard Wright.[154] 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".[155]

Production

Initial recording

You could feel after the first few sessions that it was going to be a great album.[156]

– Klaus Voormann, 2003

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.[117] According to a contemporaneous report in Beatles Monthly, pre-production began on 20 May 1970,[103] the same day as the Let It Be film's world premiere.[157] Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison's run-through of songs for Spector.[103][nb 10] John Leckie, who worked as an EMI tape operator in 1970,[160] recalled that the sessions were preceded by a week of Harrison recording demos, accompanied by Starr and Voormann.[161] The first formal recording session for the album took place at EMI Studios (now Abbey Road Studios) on 26 May,[30][103] although Unterberger states that "much or all" of that day's recording was not used.[117]

 
Abbey Road Studios (formerly EMI Studios), where Harrison recorded much of All Things Must Pass

The majority of the album's backing tracks were taped on 8-track at EMI between late May and the second week of June.[162] The recording engineer was Phil McDonald,[163] with Leckie as his tape operator.[160] Spector recorded most of the backing tracks live,[164] in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.[59][158] In Whitlock's description, the studio space was a "massive room ... 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".[165] 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.[166]

According to Voormann, Harrison set up a small altar containing figurines and burning incense, creating an atmosphere in which "everyone felt good."[165] 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.[167] All the participants later recalled the project favourably.[167][nb 11]

The first song recorded was "Wah-Wah".[168][169] 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.[165][170] Voormann immediately "loved" the sound,[165] as did Clapton; Harrison later said: "I grew to like it."[170][171]

"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.[172][nb 12] 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."[178] According to White, a "really good bond" formed among the musicians; the main sessions lasted three weeks and "There was no mucking around."[179] Badfinger participated in five sessions until early June,[131] when they left for an engagement in Hawaii.[100] Molland said they would record two or three songs each day, and that Harrison ran the sessions, rather than Spector.[180] Wright recalls that as the project progressed, the large cast of musicians was pared down.[181] 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.[182]

The Apple Jam instrumentals "Thanks for the Pepperoni" and "Plug Me In", featuring Harrison, Clapton and Mason each taking extended guitar solos,[183] 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.[184] Harrison also contributed on guitar to both sides of the band's debut single, "Tell the Truth"[185] and "Roll It Over",[186] which were produced by Spector and recorded at Apple on 18 June.[184][187] The eleven-minute "Out of the Blue" featured contributions from Keys and Price,[188] both of whom began working with the Rolling Stones around this time.[189] 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.[190][nb 13]

Delays and distractions

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.[192] 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 moment ..."[182] According to Whitlock, Harrison played the couple some of his new music and Lennon "got his socks blown off", much to Harrison's satisfaction.[193] The presence of Harrison's friends from the Radha Krishna Temple caused disruption during the sessions, according to Gibbins and Whitlock.[194] 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".[195][196]

 
Phil Spector in 1965

Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,[197][198] recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October.[184][199] 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.[200][201] Spector's erratic behaviour during the sessions was another factor affecting progress on the album.[59][184][202] 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.[59][201][nb 14] At one point, Spector fell over in the studio and broke his arm.[156] He subsequently withdrew from the project due to what Madinger and Easter term "health reasons".[184]

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.[203][nb 15] EMI's growing concerns regarding studio costs added to the pressure on Harrison.[156] 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.[59][nb 16]

Overdubbing

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.[184][nb 17] He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles,[129] and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing.[184] Among Spector's comments were detailed suggestions regarding "Let It Down",[62] 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 Trident because of its 16-track recording desk.[209] 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.[129]

John Barham's orchestrations were recorded during the next phase of the album's production,[168] 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").[210][211] Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar.[119] 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.[119]

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.[212] Spector returned to London for the later mixing stage.[201] 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.[213][212]

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 ..."[47] Harrison's approach to slide guitar incorporated aspects of both Indian music and the blues tradition;[53] he developed a precise playing style and sound that partly evoked the fretless Indian sarod.[214] 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".[215]

Final 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 CinemaScope sound.[43]

– George Harrison, January 2001

On 9 October, while carrying out final mixing at EMI, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday".[216][nb 18] The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.[95] 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.[218][219] 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.[220][nb 19]

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.[129] 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.[30]

Spector's signature production style gave All Things Must Pass a heavy, reverb-oriented sound, which Harrison came to regret.[224][225][226] 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.[193] 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".[227] 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.[228] Outtakes from the recording sessions became available on bootlegs in the 1990s.[229] One such unofficial release, the three-disc The Making of All Things Must Pass,[230] 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.[168]

Artwork

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.[91] Apple insider Tony Bramwell later recalled: "It was a bloody big thing ... You needed arms like an orang-utan to carry half a dozen."[144] The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works.[144]

The stark black-and-white cover photo was taken on the main lawn at Friar Park[73] by Wilkes' Camouflage Productions partner, Barry Feinstein.[91] 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.[231][232] The gnomes had recently been delivered to Friar Park and placed on the lawn;[233] seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.[144] 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;[200] Harrison biographer Elliot Huntley attributes Lennon's reaction to envy during a time when "everything [Harrison] touched turned to gold".[234][nb 20]

Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window.[238] Wilkes had designed a more adventurous poster, but according to Beatles author Bruce Spizer, Harrison was uncomfortable with the imagery.[239][nb 21] 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".[91]

Release

Impact

EMI and its US counterpart, Capitol Records, had originally scheduled the album for release in October 1970, and advance promotion began in September.[184] 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".[240] Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road,[241][242] as well as the speculation caused by his and Dylan's joint recording session in New York.[243] 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."[241]

Music should be used for the perception of God, not jitterbugging.[200]

– George Harrison, January 1971

All Things Must Pass was released on 27 November 1970 in the United States, and on 30 November in Britain,[237] with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries.[96] Often credited as rock's first triple album,[200] 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.[201] 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.[244][245] 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.[246] 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".[200]

Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York,[237] the failure of which led to McCartney filing suit in London's High Court to dissolve the Beatles' legal partnership.[247][248] 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.[249] 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.[250]

Commercial performance

 
Trade ad for the "What Is Life" single, February 1971

"My Sweet Lord" was highly successful,[242] topping singles charts around the world during the first few months of 1971.[73] It was the first solo single by a former Beatle to be number 1 in the UK or the US,[251] and became the most performed song of that year.[252][nb 22] Issued in February 1971, the second single, "What Is Life" backed with "Apple Scruffs",[254] also became an international hit.[255]

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.[256][nb 23] On Melody Maker'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.[257] 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;[258] for three of those weeks, "My Sweet Lord" held the top spot on the Billboard Hot 100.[259] 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.[260]

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.[261][nb 24] 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".[263] 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.[264][nb 25] 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.[266][267]

All Things Must Pass was awarded a gold disc by the Recording Industry Association of America (RIAA) on 17 December 1970[268] and it has since been certified seven times platinum by the RIAA.[258][269] In January 1975, the Canadian Recording Industry Association announced that it had been certified as a platinum album in Canada.[270][nb 26] 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.[272] Also writing in 2011, Lennon and Harrison biographer Gary Tillery describes it as "the most successful album ever released by an ex-Beatle".[273] 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.[274]

Critical reception

Contemporary reviews

All Things Must Pass received almost universal critical acclaim on release[275] – 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.[3][225][276] Harrison had usually contributed just two songs to a Beatles album;[277] 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."[278] 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,[89][142] although Anthony DeCurtis recognises Apple Jam as further evidence of the album's "bracing air of creative liberation".[279][nb 27]

Ben Gerson of Rolling Stone deemed All Things Must Pass "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty"[2] 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".[281] Gerson also lauded the album's production as being "of classic Spectorian proportions, Wagnerian, Brucknerian, the music of mountain tops and vast horizons".[2][282] 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."[97] Billboard'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".[283]

Melody Maker'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!"[3] 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".[276][nb 28] 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".[286]

In The New York Times, Don Heckman deemed the album "a release that shouldn't be missed"[286] 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".[287] 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."[288]

Retrospective assessments

Professional ratings
Review scores
SourceRating
AllMusic     [46]
Blender     [289]
Christgau's Record GuideC[290]
Encyclopedia of Popular Music     [291]
Mojo     [226]
MusicHound Rock5/5[292]
Pitchfork9.0/10[293]
Q     [294]
Rolling Stone     [279]
Uncut     [295]

An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade.[141] Village Voice critic Robert Christgau, having bemoaned in 1971 that it was characterised by "overblown fatuity" and uninteresting music,[296] 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".[290] 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".[142] 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".[297]

AllMusic's Richie Unterberger views All Things Must Pass as "[Harrison's] best ... a very moving work",[46] 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".[292] 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.[298] 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".[294] 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."[299] 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;[54] in the same publication, Mikal Gilmore labelled the album "the finest solo work any ex-Beatle ever produced".[300]

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".[301] 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 Pass ... 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."[302][nb 29] 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 finest ... and arguably the best post-Beatles solo album of them all".[295]

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".[303] 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.[46] 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."[293]

Legacy

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.[304]

– Music critic Tom Moon, in 1,000 Recordings to Hear Before You Die (2008)

Author Mark Ribowsky says that All Things Must Pass "forged the seventies first new rock idiom",[305] 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.[306] 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."[307]

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."[272] 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.[272] 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.[308]

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.[309] 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.[310] 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".[310]

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".[311] 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."[88]

All Things Must Pass features in music reference books such as The Mojo Collection: The Greatest Albums of All Time,[312] Robert Dimery's 1001 Albums You Must Hear Before You Die[313] and Tom Moon's 1,000 Recordings to Hear Before You Die.[314] In 1999, All Things Must Pass appeared at number 9 on The Guardian's "Alternative Top 100 Albums" list, where the editor described it as the "best, mellowest and most sophisticated" of all the Beatles' solo efforts.[315] In 2006, Pitchfork placed it at number 82 on the site's "Top 100 Albums of the 1970s".[84] It was ranked 433rd on Rolling Stone's list of the "500 Greatest Albums of All Time" in 2012[316] and 368th on the 2020 updated list.[317] 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), The Times' "100 Best Albums of All Time" (1993; number 79), Allan Kozinn's The 100 Greatest Pop Albums of the Century (published in 2000), Q's "The 50 (+50) Best British Albums Ever" (2004), Mojo's "70 of the Greatest Albums of the 70s" (2006), the NME's "100 Greatest British Albums Ever" (2006; number 86), Paste magazine's "The 70 Best Albums of the 1970s" (2012; number 27), and Craig Mathieson and Toby Creswell's The 100 Best Albums of All Time (2013).[313]

In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame,[318] an award bestowed by the Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old".[319] 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.[262]

Subsequent releases

2001

 
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.[320][nb 30] Ken Scott engineered the reissue,[322] which was remastered by Jon Astley.[323] Harrison and Scott were shocked at the amount of reverb they had used in 1970[324] and were keen to remix the album, but EMI vetoed the idea.[212]

The reissue appeared on Gnome Records, a label set up by Harrison for the project.[325] Harrison also oversaw revisions to Wilkes and Feinstein's album artwork,[149] which included a colourised "George & the Gnomes" front cover[149] 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.[94][nb 31] 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".[326][nb 32] 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".[328] As a further example of his willingness to embrace modern media,[329] 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".[330]

Titled All Things Must Pass: 30th Anniversary Edition, the new album contained five bonus tracks, including "I Live for You",[331] 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.[332] In addition, Harrison resequenced the content of Apple Jam so that the album closed with "Out of the Blue", as he had originally intended.[93][149] Assisting Harrison with overdubs on the bonus tracks were his son, Dhani Harrison, singer Sam Brown and percussionist Ray Cooper,[93] all of whom contributed to the recording of Brainwashed around this time.[333] 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.[212]

With Harrison undertaking extensive promotional work, the 2001 reissue was a critical and commercial success.[334] Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America.[335] There, the reissue debuted at number 4 on Billboard's Top Pop Catalog Albums chart[336] and topped the magazine's Internet Album Sales listings.[337] In the UK, it peaked at number 68 on the national albums chart.[338] Writing in Record Collector, Doggett described this success as "a previously unheard-of achievement for a reissue".[339]

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.[340] With the release on iTunes of much of the Harrison catalogue, in October 2007,[341] the album re-entered the US Top Pop Catalog chart, peaking at number 3.[342]

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, on 26 November 2010.[343][344] Each copy was individually numbered.[345][346] 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,[272] a digitally remastered 24-bit version of the album was made available for download from Harrison's official website.[343][344] The reissue coincided with the Harrison estate's similarly low-key[347] release of the Ravi Shankar–George Harrison box set Collaborations[348] 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.[349][350]

2014

All Things Must Pass was remastered again for the eight-disc Harrison box set The Apple Years 1968–75,[351] issued in September 2014.[352] Also available as a separate, double-CD release, the reissue reproduces Harrison's 2001 liner notes[353] and includes the same five bonus tracks that appeared on the 30th anniversary edition.[351] In addition, the box set's DVD contains the promotional film created for the 2001 reissue.[354]

2020–2021

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.[355] 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.[356]

On 10 June 2021, the release of a 50th anniversary edition was officially announced for 6 August.[357] The reissue is available in seven varieties, from Standard vinyl and CD editions up to an Uber Deluxe Edition box set.[358] The most extensive editions contain 70 tracks across 5 CDs/8LPs, including outtakes, jams and 47 demos, 42 of which are previously unreleased,[359] and a scrapbook containing archival notes and track-by-track annotation curated by Olivia Harrison.[358] The Uber Deluxe set adds a 44-page book on the creation of the 1970 triple album,[357] 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.[358]

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".[360] The release received maximum scores from Mojo, The Times, The Daily Telegraph, the Daily Mail, the Daily Express, Uncut and American Songwriter.[361] 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.[361] In 2022, the 50th anniversary box set won the Grammy Award for Best Boxed or Special Limited Edition Package.[362]

Track listing

All songs written by George Harrison, except where noted.

Original release

Side one

  1. "I'd Have You Anytime" (Harrison, Bob Dylan) – 2:56
  2. "My Sweet Lord" – 4:38
  3. "Wah-Wah" – 5:35
  4. "Isn't It a Pity (Version One)" – 7:10

Side two

  1. "What Is Life" – 4:22
  2. "If Not for You" (Dylan) – 3:29
  3. "Behind That Locked Door" – 3:05
  4. "Let It Down" – 4:57
  5. "Run of the Mill" – 2:49

Side three

  1. "Beware of Darkness" – 3:48
  2. "Apple Scruffs" – 3:04
  3. "Ballad of Sir Frankie Crisp (Let It Roll)" – 3:48
  4. "Awaiting on You All" – 2:45
  5. "All Things Must Pass" – 3:44

Side four

  1. "I Dig Love" – 4:55
  2. "Art of Dying" – 3:37
  3. "Isn't It a Pity (Version Two)" – 4:45
  4. "Hear Me Lord" – 5:46

Side five (Apple Jam)

  1. "Out of the Blue" – 11:14
  2. "It's Johnny's Birthday" (Bill Martin, Phil Coulter, Harrison) – 0:49
  3. "Plug Me In" – 3:18

Side six (Apple Jam)

  1. "I Remember Jeep" – 8:07
  2. "Thanks for the Pepperoni" – 5:31

2001 remaster

Disc one

Sides one and two were combined as tracks 1–9, with the following additional tracks:

  2. "I Live for You" – 3:35
  3. "Beware of Darkness" (acoustic demo) – 3:19
  4. "Let It Down" (alternate version) – 3:54
  5. "What Is Life" (backing track/alternate mix) – 4:27
  6. "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.

  2. "It's Johnny's Birthday" (Martin, Coulter, Harrison) – 0:49
  3. "Plug Me In" – 3:18
  4. "I Remember Jeep" – 8:07
  5. "Thanks for the Pepperoni" – 5:31
  6. "Out of the Blue" – 11:16

2021 50th Anniversary Super Deluxe Box

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

  1. "All Things Must Pass" (Day 1 Demo) – 4:38
  2. "Behind That Locked Door" (Day 1 Demo) – 2:54
  3. "I Live for You" (Day 1 Demo) – 3:26
  4. "Apple Scruffs" (Day 1 Demo) – 2:48
  5. "What Is Life" (Day 1 Demo) – 4:46
  6. "Awaiting on You All" (Day 1 Demo) – 2:30
  7. "Isn't It a Pity" (Day 1 Demo) – 3:19
  8. "I'd Have You Anytime" (Day 1 Demo) (Harrison, Dylan) – 2:10
  9. "I Dig Love" (Day 1 Demo) – 3:35
  10. "Going Down to Golders Green" (Day 1 Demo) – 2:24
  11. "Dehra Dun" (Day 1 Demo) – 3:39
  12. "Om Hare Om (Gopala Krishna)" (Day 1 Demo) – 5:13
  13. "Ballad of Sir Frankie Crisp (Let It Roll)" (Day 1 Demo) – 3:41
  14. "My Sweet Lord" (Day 1 Demo) – 3:21
  15. "Sour Milk Sea" (Day 1 Demo) – 2:28

Disc four

  1. "Run of the Mill" (Day 2 Demo) – 1:54
  2. "Art of Dying" (Day 2 Demo) – 3:04
  3. "Everybody-Nobody" (Day 2 Demo) – 2:20
  4. "Wah-Wah" (Day 2 Demo) – 4:24
  5. "Window Window" (Day 2 Demo) – 1:53
  6. "Beautiful Girl" (Day 2 Demo) – 2:39
  7. "Beware of Darkness" (Day 2 Demo) – 3:20
  8. "Let It Down" (Day 2 Demo) – 3:57
  9. "Tell Me What Has Happened to You" (Day 2 Demo) – 2:57
  10. "Hear Me Lord" (Day 2 Demo) – 4:57
  11. "Nowhere to Go" (Day 2 Demo) (Harrison, Dylan) – 2:44
  12. "Cosmic Empire" (Day 2 Demo) – 2:12
  13. "Mother Divine" (Day 2 Demo) – 2:45
  14. "I Don't Want to Do It" (Day 2 Demo) (Dylan) – 2:05
  15. "If Not for You" (Day 2 Demo) (Dylan) – 1:48

Disc five

  1. "Isn't It a Pity" (take 14) – 0:53
  2. "Wah-Wah" (take 1) – 5:56
  3. "I'd Have You Anytime" (take 5) (Harrison, Dylan) – 2:48
  4. "Art of Dying" (take 1) – 2:48
  5. "Isn't It a Pity" (take 27) – 4:01
  6. "If Not For You" (take 2) (Dylan) – 2:59
  7. "Wedding Bells (Are Breaking Up That Old Gang of Mine)" (take 1) (Sammy Fain, Irving Kahal, Willie Raskin) – 1:56
  8. "What Is Life" (take 1) – 4:34
  9. "Beware of Darkness" (take 8) – 3:48
  10. "Hear Me Lord" (take 5) – 9:31
  11. "Let It Down" (take 1) – 4:13
  12. "Run of the Mill" (take 36) – 2:28
  13. "Down to the River (Rocking Chair Jam)" (take 1) – 2:30
  14. "Get Back" (take 1) (John Lennon, Paul McCartney) – 2:07
  15. "Almost 12 Bar Honky Tonk" (take 1) – 8:34
  16. "It's Johnny's Birthday" (take 1) (Martin, Coulter, Harrison) – 0:59
  17. "Woman Don't You Cry for Me" (take 5) – 5:01

Personnel

The following musicians are either credited on the 2001 reissue of All Things Must Pass[322] or are acknowledged as having contributed after subsequent research:[363]

Accolades

Grammy Awards

Year Nominee / work Award Result
1972 All Things Must Pass Album of the Year[266] Nominated
"My Sweet Lord" Record of the Year[266] Nominated
2014 All Things Must Pass Hall of Fame Award[319] Won
2022 All Things Must Pass Best Boxed or Special Limited Edition Package [367] Won

Charts

Weekly charts

Year-end charts

Chart (1971) Position
Australian Kent Music Report[369] 5
Dutch Albums Chart[398] 11
US Billboard Year-End[399] 18

Certifications

Region Certification Certified units/sales
Canada (Music Canada)[400] Gold 50,000^
Denmark (IFPI Danmark)[401] Gold 10,000 
United Kingdom (BPI)[402] Gold 100,000^
United States (RIAA)[403] 7× Platinum 7,000,000 

^ Shipments figures based on certification alone.
  Sales+streaming figures based on certification alone.

Notes

  1. ^ In conversation with Lennon, Harrison remarked that he already had enough compositions for the next ten years of Beatle releases,[30] given his usual quota of two tracks per album[31][32] and the occasional B-side.[29]
  2. ^ This is a view held by biographers Leng[44] and Joshua Greene[45] also, as well as by music critics John Harris,[5] David Fricke[43] and Richie Unterberger.[46]
  3. ^ "Isn't It a Pity" was another song passed over during these sessions,[56] having similarly been turned down, by Lennon,[57] for inclusion on the Beatles' Revolver album (1966).[58]
  4. ^ Soon after the tour, Harrison gave "My Sweet Lord" and "All Things Must Pass" to Preston,[69] who released the songs on his Encouraging Words album in September 1970, two months before Harrison's versions appeared.[70]
  5. ^ The face label on each side of disc three contained a jam jar painted by designer Tom Wilkes, showing a piece of fruit inside the jar and two apple leaves on the outside.[94]
  6. ^ In other interviews, Harrison similarly likened his situation to being "constipated for years" artistically while in the Beatles.[99]
  7. ^ Frampton said this was because "Spector always wanted 'more acoustics, more acoustics!'"[135] In a 2014 interview, Mason said he could not remember which tracks he played on, but that his contributions were confined to acoustic rhythm guitar.[136]
  8. ^ Like Barham, Tony Ashton had been a significant contributor to Harrison's Wonderwall Music album.[139] In March 1970, Harrison and Clapton participated in the recording of "I'm Your Spiritual Breadman" by Ashton's new band, Ashton, Gardner and Dyke.[140]
  9. ^ For similar reasons regarding record companies being "possessive"[144] of their artists,[145] the musician credits on Cream's Goodbye album (1969),[146] Jack Bruce's Songs for a Tailor (1969) and Delaney & Bonnie's On Tour (1970)[147] could only list Harrison under a pseudonym, "L'Angelo Misterioso".[148]
  10. ^ 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.[158][159]
  11. ^ Citing Wright's description that Harrison created a "profoundly peaceful" mood in the studio that complemented the quality of the musicianship, musicologist Thomas MacFarlane likens the atmosphere to the sessions for Harrison's Indian-style recordings for the Beatles, such as "Within You Without You".[48]
  12. ^ Drake also played on the bootlegged instrumental "Pete Drake and His Amazing Talking Guitar",[173] before returning to Nashville to gather material for Starr's country album, Beaucoups of Blues,[174] sessions for which began in the last week of June.[175] Drake's visit to London also impacted on Frampton's career, as he went on to adopt Drake's talking-box guitar effect.[176][177]
  13. ^ Keys adds that it was only when they started working on Harrison's album that he and Price realised they were not going to join the other Friends personnel in Derek and the Dominos.[191]
  14. ^ Barham commented that Spector was aloof and distant with the musicians, and his authoritarian tendencies contrasted sharply with Harrison's preference for letting the players find themselves in each song. According to Molland, recalling the "Wah-Wah" playback, Spector "was hitting the Courvoisier pretty hard" even by early afternoon, but: "He was still Phil Spector ... the sound was incredible."[202]
  15. ^ This personal tragedy was the inspiration for a new Harrison composition, the 1971 B-side "Deep Blue".[204][205]
  16. ^ Clapton's feelings for Boyd inspired many of his songs on Derek and the Dominos' only studio album, Layla and Other Assorted Love Songs (1970).[145] After Boyd rejected him in November 1970, Clapton descended into full-blown heroin addiction,[206] which led to the break-up of the band in early 1971 and the sidelining of his career until 1974.[207]
  17. ^ Leckie says that some of the overdubbing took place at EMI. He recalls working with McDonald as Harrison added his lead vocal to "Awaiting on You All", by which point the horns and other overdubs were already in place.[208]
  18. ^ Lennon was recording his song "Remember" in one of the other studios there, with Starr and Voormann. The session tapes reveal Lennon's delight at Harrison's arrival.[217]
  19. ^ The albums were released, respectively, as Bobby Whitlock (1972), Footprint (1971), Straight Up (1971) and Bobby Keys (1972).[221] Harrison also introduced Badfinger on stage before their opening night at Urgano's in New York City in November 1970.[222][223]
  20. ^ According to Harrison's recollection in a 1977 interview for Crawdaddy magazine,[200] 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 "look[ing] like an asthmatic Leon Russell" on the cover.[235] Later, in what author Alan Clayson views as a case of "needling Paul rather than praising George",[236] Lennon told Rolling Stone editor Jann Wenner that he "preferred" All Things Must Pass to the "rubbish" on McCartney.[237]
  21. ^ 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" Lord Krishna, who had hidden the bathers' clothing in the branches of a nearby tree.[91]
  22. ^ Aside from the popularity of Harrison's recording, the song attracted a large number of cover versions in 1971.[252] The widespread success of "My Sweet Lord" worked against Harrison when a near-bankrupt music publisher, Bright Tunes, pursued an ultimately successful claim of plagiarism against him in the US district court, for unauthorised copyright infringement of the 1963 song "He's So Fine".[253]
  23. ^ 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.[256] In July 2006, the Official UK Charts Company changed its records to show that All Things Must Pass was the top-selling album throughout that time.[256]
  24. ^ Record producer Andrew Loog Oldham, formerly the Rolling Stones' manager, recalls: "When All Things Must Pass came out I sat down and listened to it for three days. It was the first album that sounded like one single."[262]
  25. ^ Immediately after Wings' success, Harrison again held both number 1 positions, with his "Give Me Love" single and its parent album, Living in the Material World.[264][265]
  26. ^ Capitol Canada executives presented Harrison with the platinum award in Toronto in December 1974, shortly before he performed at the city's Maple Leaf Gardens.[271]
  27. ^ Previewing the LP in the Detroit Free Press, Mike Gormley said that Apple Jam constituted "some exceptional hard rock and roll". He concluded: "The album should sell for around $10. It's worth $50."[280]
  28. ^ Aside from non-vocal albums such as Harrison's Wonderwall Music and Electronic Sound, and Lennon's experimental work with Ono, beginning with Two Virgins (1968),[284] the solo albums up to January 1971 were as follows: Lennon's Live Peace in Toronto (1969), Starr's Sentimental Journey (1970), McCartney, Beaucoups of Blues, All Things Must Pass and John Lennon/Plastic Ono Band.[285]
  29. ^ Mick Brown, writing in The Daily Telegraph, also considers it the best of all the Beatles' solo albums.[196]
  30. ^ 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.[321]
  31. ^ 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.[94] The revised artwork for All Things Must Pass was credited to WhereforeArt?[94]
  32. ^ 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 Cloud Nine (1987), might be Your Planet Is Doomed – Volume One.[327]
  33. ^ In Leng's book, Voormann states 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."[365]

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Further reading

  • 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 Rock /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 links

  • Official website
  • All Things Must Pass at Discogs (list of releases)
  • Portion of Phil Spector's notes on Harrison's early mixes
  • Producer David Hentschel's recollections of working on the album

February 01, 2023
things, must, pass, this, article, about, album, other, uses, disambiguation, third, studio, album, english, rock, musician, george, harrison, released, triple, album, november, 1970, harrison, first, solo, work, after, break, beatles, april, that, year, inclu. This article is about the album For other uses see All Things Must Pass disambiguation All Things Must Pass is the third studio album by English rock musician 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 amp 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 All Things Must PassStudio album by George HarrisonReleased27 November 1970 1970 11 27 RecordedMay October 1970StudioEMI Trident and Apple London GenreRock 1 folk rockLength106 00LabelAppleProducerGeorge Harrison Phil SpectorGeorge Harrison chronologyElectronic Sound 1969 All Things Must Pass 1970 The Concert for Bangladesh 1971 Singles from All Things Must Pass My Sweet Lord Isn t It a Pity Released 23 November 1970 US My Sweet Lord Released 15 January 1971 UK What Is Life Released 15 February 1971 US Alternative coverCover of the 2001 reissueProduction 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 amp 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 2 Reflecting the widespread surprise at the assuredness of Harrison s post Beatles debut Melody Maker s Richard Williams likened the album to Greta Garbo s first role in a talking picture and declared Garbo talks Harrison is free 3 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 4 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 Among its appearances on critics best album lists All Things Must Pass was ranked 79th on The Times The 100 Best Albums of All Time in 1993 while Rolling Stone placed it 368th on the magazine s 2020 update of The 500 Greatest Albums of All Time In 2014 All Things Must Pass was inducted into the Grammy Hall of Fame Contents 1 Background 2 Songs 2 1 Main body 2 2 Apple Jam 2 3 Demo tracks and outtakes 3 Contributing musicians 4 Production 4 1 Initial recording 4 2 Delays and distractions 4 3 Overdubbing 4 4 Final mixing and mastering 5 Artwork 6 Release 6 1 Impact 6 2 Commercial performance 7 Critical reception 7 1 Contemporary reviews 7 2 Retrospective assessments 8 Legacy 9 Subsequent releases 9 1 2001 9 2 2010 9 3 2014 9 4 2020 2021 10 Track listing 10 1 Original release 10 2 2001 remaster 10 3 2021 50th Anniversary Super Deluxe Box 11 Personnel 12 Accolades 12 1 Grammy Awards 13 Charts 13 1 Weekly charts 13 2 Year end charts 14 Certifications 15 Notes 16 References 17 Sources 18 Further reading 19 External linksBackground EditMusic 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 5 At Woodstock in November 6 Harrison started a long lasting friendship with Bob Dylan 5 and experienced a creative equality with the Band that contrasted with John Lennon and Paul McCartney s dominance in the Beatles 7 8 He also wrote more songs 9 renewing his interest in the guitar after three years studying the Indian sitar 10 11 As well as being one of the few musicians to co write songs with Dylan 5 Harrison had recently collaborated with Eric Clapton on Badge 12 which became a hit single for Cream in the spring of 1969 13 Billboard ad for Harrison s Wonderwall Music soundtrack 1968 Once back in London and with his compositions continually overlooked for inclusion on releases by the Beatles 14 15 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 16 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 17 He also recorded with artists such as Leon Russell 18 and Jack Bruce 19 and accompanied Clapton on a short tour with Delaney Bramlett s soul revue Delaney amp Bonnie and Friends 20 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 21 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 22 In January 1970 23 Harrison invited American producer Phil Spector to participate in the recording of Lennon s Plastic Ono Band single Instant Karma 24 25 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 26 27 and later co producing All Things Must Pass 28 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 29 30 nb 1 On 25 February his 26th birthday 33 Harrison recorded demos of All Things Must Pass and two other compositions that had received little interest from Lennon and McCartney at Twickenham 34 35 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 36 37 He began talking publicly about recording his own album from the autumn of 1969 38 39 but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970 40 Included as part of the promotional material for McCartney s self titled solo album this announcement signalled the band s break up 41 Despite having already made Wonderwall Music 1968 a mostly instrumental soundtrack album and the experimental Electronic Sound 1969 42 Harrison considered All Things Must Pass to be his first solo album 43 nb 2 Songs EditMain body Edit 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 47 Phil Spector on first hearing Harrison s backlog of songs in early 1970 Spector first heard Harrison s stockpile of unreleased songs early in 1970 when visiting his recently purchased home Friar Park 47 It was endless Spector later recalled of the recital noting the quantity and quality of Harrison s material 48 Harrison had accumulated songs from as far back as 1966 both Isn t It a Pity and Art of Dying date from that year 49 He co wrote at least two songs with Dylan while in Woodstock 50 one of which I d Have You Anytime appeared as the lead track on All Things Must Pass 51 Harrison also wrote Let It Down in late 1968 52 He introduced the Band inspired 53 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 54 55 nb 3 The tense atmosphere at Twickenham fuelled another All Things Must Pass song Wah Wah 59 which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969 60 Harrison later confirmed that the song was a swipe at McCartney 61 Run of the Mill followed soon afterwards its lyrics focusing on the failure of friendships within the Beatles 62 amid the business problems surrounding their Apple organisation 63 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 64 Behind That Locked Door was Harrison s message of encouragement to Dylan 65 written the night before the latter s comeback performance at the Isle of Wight Festival 66 and Harrison began My Sweet Lord as an exercise in writing a gospel song 67 during Delaney amp Bonnie s stopover in Copenhagen in December 1969 68 nb 4 I Dig Love resulted from Harrison s early experiments with slide guitar a technique to which Bramlett had introduced him 67 in order to cover for guitarist Dave Mason s departure from the Friends line up 71 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 72 73 Ballad of Sir Frankie Crisp Let It Roll a tribute to the original owner of Friar Park 74 and Beware of Darkness 75 The latter was another song influenced by Harrison s association with the Radha Krishna Temple 76 and was written while some of the devotees were staying with him at Friar Park 77 On 1 May 1970 shortly before beginning work on All Things Must Pass Harrison attended a Dylan session in New York 78 during which he acquired a new song of Dylan s If Not for You 59 Harrison wrote Apple Scruffs which was one of a number of Dylan influenced songs on the album 79 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 73 80 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 81 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 82 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 83 Rob Mitchum of Pitchfork describes the album as dark tinged Krishna folk rock 84 The recurrent lyrical themes are Harrison s spiritual quest as it would be throughout his solo career 85 and friendship particularly the failure of relationships among the Beatles 86 87 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 88 Apple Jam Edit 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 89 or in the case of Out of the Blue a single chord riff 90 The title for I Remember Jeep originated from the name of Clapton s dog Jeep 91 and Thanks for the Pepperoni came from a line on a Lenny Bruce comedy album 92 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 93 nb 5 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 95 Like all the free tracks on the bonus disc 96 It s Johnny s Birthday carried a Harrison songwriting credit on the original UK release of All Things Must Pass 97 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 98 In December 1970 Congratulations songwriters Bill Martin and Phil Coulter claimed royalties 95 with the result that the composer s credit for Harrison s track was swiftly changed to acknowledge Martin and Coulter 91 Demo tracks and outtakes Edit Aside from the seventeen songs issued on discs one and two of the original album 99 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 100 101 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 102 nb 6 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 103 104 The six songs are Window Window another song turned down by the Beatles in January 1969 105 Everybody Nobody the melody of which Harrison adapted for Ballad of Sir Frankie Crisp 103 Nowhere to Go a second Harrison Dylan collaboration from November 1968 originally known as When Everybody Comes to Town 106 and Cosmic Empire Mother Divine and Tell Me What Has Happened to You 30 107 Also from this performance were two tracks that Harrison returned to in later years 100 He completed Beautiful Girl for inclusion on his 1976 album Thirty Three amp 1 3 30 I Don t Want to Do It written by Dylan was Harrison s contribution to the soundtrack for the 1985 film Porky s Revenge 59 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 108 109 Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed solo album on Apple Records 110 After releasing his own versions of Try Some Buy Some and You 111 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 112 Woman Don t You Cry for Me written in December 1969 as his first slide guitar composition 113 was another song that Harrison revisited on Thirty Three amp 1 3 71 Harrison included I Live for You as the only all new bonus track on the 2001 reissue of All Things Must Pass 114 Down to the River remained unused until he reworked it as Rocking Chair in Hawaii 115 for his final studio album the posthumously released Brainwashed 2002 116 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 117 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 100 Gopala Krishna also known as Om Hare Om 109 with all Sanskrit lyrics 118 and described by Simon Leng as a rocking companion to Awaiting on You All 119 Going Down to Golders Green a Sun Records era Presley parody based on the melody of Baby Let s Play House 109 Contributing musicians Edit Jim Gordon Carl Radle Bobby Whitlock and Eric Clapton formed Derek and the Dominos while participating in the sessions for All Things Must Pass The precise line up of contributing musicians is open to conjecture 120 121 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 122 123 In 2002 music critic Greg Kot described it as a who s who of the decade s rock royalty 54 while Harris writes of the cast taking on a Cecil B De Mille aspect 59 The musicians included Bobby Whitlock Jim Gordon Carl Radle Bobby Keys Jim Price and Dave Mason 124 all of whom had recently toured with Delaney amp Bonnie 125 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 126 the latter formerly of Manfred Mann and a friend since the Beatles years in Hamburg 127 Handling much of the keyboard work with Whitlock was Gary Wright 120 who went on to collaborate regularly with Harrison throughout the 1970s 128 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 30 George Harrison December 2000 From within Apple s stable of musicians Harrison recruited the band Badfinger future Yes drummer Alan White and Beatles assistant Mal Evans on percussion 129 130 Badfinger drummer Mike Gibbins powerful tambourine work led to Spector giving him the nickname Mr Tambourine Man after the Dylan song 59 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 131 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 73 Other contributors included Procol Harum s Gary Brooker on keyboards and pedal steel player Pete Drake 132 the last of whom Harrison flew over from Nashville for a few days of recording 133 Adding to his and Badfinger s acoustic guitars on some All Things Must Pass tracks Harrison invited Peter Frampton to the sessions 134 Although uncredited for his contributions Frampton also played acoustic guitar on the country tracks featuring Drake 134 he and Harrison later overdubbed further rhythm parts on several songs 134 nb 7 Orchestral arranger John Barham also attended the sessions occasionally contributing on harmonium and vibraphone 137 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 138 nb 8 Ginger Baker Clapton s former bandmate in Cream and Blind Faith played drums on the jam track I Remember Jeep 109 For contractual reasons on UK pressings of All Things Must Pass Clapton s participation on the first two discs remained unacknowledged for many years 123 141 although he was listed among the musicians appearing on the Apple Jam disc 142 143 nb 9 A pre Genesis Phil Collins played congas at a session for Art of Dying 59 Harrison gave him a credit on the 30th anniversary reissue of the album 149 but Collins playing does not appear on the track 150 151 Unsubstantiated claims exist regarding guest appearances by John Lennon 152 Maurice Gibb 153 and Pink Floyd s Richard Wright 154 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 155 Production EditInitial recording Edit You could feel after the first few sessions that it was going to be a great album 156 Klaus Voormann 2003 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 117 According to a contemporaneous report in Beatles Monthly pre production began on 20 May 1970 103 the same day as the Let It Be film s world premiere 157 Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison s run through of songs for Spector 103 nb 10 John Leckie who worked as an EMI tape operator in 1970 160 recalled that the sessions were preceded by a week of Harrison recording demos accompanied by Starr and Voormann 161 The first formal recording session for the album took place at EMI Studios now Abbey Road Studios on 26 May 30 103 although Unterberger states that much or all of that day s recording was not used 117 Abbey Road Studios formerly EMI Studios where Harrison recorded much of All Things Must Pass The majority of the album s backing tracks were taped on 8 track at EMI between late May and the second week of June 162 The recording engineer was Phil McDonald 163 with Leckie as his tape operator 160 Spector recorded most of the backing tracks live 164 in some cases featuring multiple drummers and keyboard players and as many as five rhythm guitarists 59 158 In Whitlock s description the studio space was a massive room 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 165 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 166 According to Voormann Harrison set up a small altar containing figurines and burning incense creating an atmosphere in which everyone felt good 165 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 167 All the participants later recalled the project favourably 167 nb 11 The first song recorded was Wah Wah 168 169 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 165 170 Voormann immediately loved the sound 165 as did Clapton Harrison later said I grew to like it 170 171 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 172 nb 12 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 178 According to White a really good bond formed among the musicians the main sessions lasted three weeks and There was no mucking around 179 Badfinger participated in five sessions until early June 131 when they left for an engagement in Hawaii 100 Molland said they would record two or three songs each day and that Harrison ran the sessions rather than Spector 180 Wright recalls that as the project progressed the large cast of musicians was pared down 181 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 182 The Apple Jam instrumentals Thanks for the Pepperoni and Plug Me In featuring Harrison Clapton and Mason each taking extended guitar solos 183 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 184 Harrison also contributed on guitar to both sides of the band s debut single Tell the Truth 185 and Roll It Over 186 which were produced by Spector and recorded at Apple on 18 June 184 187 The eleven minute Out of the Blue featured contributions from Keys and Price 188 both of whom began working with the Rolling Stones around this time 189 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 190 nb 13 Delays and distractions Edit 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 192 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 moment 182 According to Whitlock Harrison played the couple some of his new music and Lennon got his socks blown off much to Harrison s satisfaction 193 The presence of Harrison s friends from the Radha Krishna Temple caused disruption during the sessions according to Gibbins and Whitlock 194 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 195 196 Phil Spector in 1965 Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete 197 198 recording overdubbing and mixing on All Things Must Pass lasted for five months until late October 184 199 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 200 201 Spector s erratic behaviour during the sessions was another factor affecting progress on the album 59 184 202 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 59 201 nb 14 At one point Spector fell over in the studio and broke his arm 156 He subsequently withdrew from the project due to what Madinger and Easter term health reasons 184 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 203 nb 15 EMI s growing concerns regarding studio costs added to the pressure on Harrison 156 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 59 nb 16 Overdubbing Edit 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 184 nb 17 He then sent early mixes of many of the songs to his co producer who was convalescing in Los Angeles 129 and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing 184 Among Spector s comments were detailed suggestions regarding Let It Down 62 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 Trident because of its 16 track recording desk 209 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 129 John Barham s orchestrations were recorded during the next phase of the album s production 168 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 210 211 Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar 119 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 119 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 212 Spector returned to London for the later mixing stage 201 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 213 212 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 47 Harrison s approach to slide guitar incorporated aspects of both Indian music and the blues tradition 53 he developed a precise playing style and sound that partly evoked the fretless Indian sarod 214 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 215 Final mixing and mastering Edit 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 CinemaScope sound 43 George Harrison January 2001 On 9 October while carrying out final mixing at EMI Harrison presented Lennon with the recently recorded It s Johnny s Birthday 216 nb 18 The track featured Harrison on vocals harmonium and all other instruments and vocal contributions from Mal Evans and assistant engineer Eddie Klein 95 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 218 219 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 220 nb 19 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 129 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 30 Spector s signature production style gave All Things Must Pass a heavy reverb oriented sound which Harrison came to regret 224 225 226 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 193 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 227 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 228 Outtakes from the recording sessions became available on bootlegs in the 1990s 229 One such unofficial release the three disc The Making of All Things Must Pass 230 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 168 Artwork EditHarrison 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 91 Apple insider Tony Bramwell later recalled It was a bloody big thing You needed arms like an orang utan to carry half a dozen 144 The packaging caused some confusion among retailers who at that time associated boxed albums with opera or classical works 144 The stark black and white cover photo was taken on the main lawn at Friar Park 73 by Wilkes Camouflage Productions partner Barry Feinstein 91 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 231 232 The gnomes had recently been delivered to Friar Park and placed on the lawn 233 seeing the four figures there and mindful of the message in the album s title Feinstein immediately drew parallels with Harrison s former band 144 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 200 Harrison biographer Elliot Huntley attributes Lennon s reaction to envy during a time when everything Harrison touched turned to gold 234 nb 20 Apple included a poster with the album showing Harrison in a darkened corridor of his home standing in front of an iron framed window 238 Wilkes had designed a more adventurous poster but according to Beatles author Bruce Spizer Harrison was uncomfortable with the imagery 239 nb 21 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 91 Release EditImpact Edit EMI and its US counterpart Capitol Records had originally scheduled the album for release in October 1970 and advance promotion began in September 184 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 240 Harrison s stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road 241 242 as well as the speculation caused by his and Dylan s joint recording session in New York 243 Noting also Harrison s role in popularising new acts such as the Band and Delaney amp 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 241 Music should be used for the perception of God not jitterbugging 200 George Harrison January 1971 All Things Must Pass was released on 27 November 1970 in the United States and on 30 November in Britain 237 with the rare distinction of having the same Apple catalogue number STCH 639 in both countries 96 Often credited as rock s first triple album 200 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 201 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 244 245 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 246 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 200 Another factor behind the album s first weeks of release was Harrison s meeting with McCartney in New York 237 the failure of which led to McCartney filing suit in London s High Court to dissolve the Beatles legal partnership 247 248 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 249 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 250 Commercial performance Edit Trade ad for the What Is Life single February 1971 My Sweet Lord was highly successful 242 topping singles charts around the world during the first few months of 1971 73 It was the first solo single by a former Beatle to be number 1 in the UK or the US 251 and became the most performed song of that year 252 nb 22 Issued in February 1971 the second single What Is Life backed with Apple Scruffs 254 also became an international hit 255 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 4 256 nb 23 On Melody Maker 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 257 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 258 for three of those weeks My Sweet Lord held the top spot on the Billboard Hot 100 259 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 260 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 261 nb 24 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 263 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 264 nb 25 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 266 267 All Things Must Pass was awarded a gold disc by the Recording Industry Association of America RIAA on 17 December 1970 268 and it has since been certified seven times platinum by the RIAA 258 269 In January 1975 the Canadian Recording Industry Association announced that it had been certified as a platinum album in Canada 270 nb 26 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 272 Also writing in 2011 Lennon and Harrison biographer Gary Tillery describes it as the most successful album ever released by an ex Beatle 273 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 274 Critical reception EditContemporary reviews Edit All Things Must Pass received almost universal critical acclaim on release 275 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 3 225 276 Harrison had usually contributed just two songs to a Beatles album 277 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 278 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 89 142 although Anthony DeCurtis recognises Apple Jam as further evidence of the album s bracing air of creative liberation 279 nb 27 Ben Gerson of Rolling Stone deemed All Things Must Pass both an intensely personal statement and a grandiose gesture a triumph over artistic modesty 2 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 281 Gerson also lauded the album s production as being of classic Spectorian proportions Wagnerian Brucknerian the music of mountain tops and vast horizons 2 282 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 97 Billboard 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 283 Melody Maker 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 3 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 276 nb 28 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 286 In The New York Times Don Heckman deemed the album a release that shouldn t be missed 286 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 287 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 288 Retrospective assessments Edit Professional ratingsReview scoresSourceRatingAllMusic 46 Blender 289 Christgau s Record GuideC 290 Encyclopedia of Popular Music 291 Mojo 226 MusicHound Rock5 5 292 Pitchfork9 0 10 293 Q 294 Rolling Stone 279 Uncut 295 An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade 141 Village Voice critic Robert Christgau having bemoaned in 1971 that it was characterised by overblown fatuity and uninteresting music 296 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 290 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 142 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 297 AllMusic s Richie Unterberger views All Things Must Pass as Harrison s best a very moving work 46 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 292 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 298 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 294 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 299 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 54 in the same publication Mikal Gilmore labelled the album the finest solo work any ex Beatle ever produced 300 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 301 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 Pass 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 302 nb 29 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 finest and arguably the best post Beatles solo album of them all 295 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 303 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 46 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 293 Legacy EditGeorge 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 304 Music critic Tom Moon in 1 000 Recordings to Hear Before You Die 2008 Author Mark Ribowsky says that All Things Must Pass forged the seventies first new rock idiom 305 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 306 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 307 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 272 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 272 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 308 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 309 Ian Inglis notes 1970 s place in an era marking the new supremacy of the singer songwriter through such memorable albums as Simon amp 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 310 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 310 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 311 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 88 All Things Must Pass features in music reference books such as The Mojo Collection The Greatest Albums of All Time 312 Robert Dimery s 1001 Albums You Must Hear Before You Die 313 and Tom Moon s 1 000 Recordings to Hear Before You Die 314 In 1999 All Things Must Pass appeared at number 9 on The Guardian s Alternative Top 100 Albums list where the editor described it as the best mellowest and most sophisticated of all the Beatles solo efforts 315 In 2006 Pitchfork placed it at number 82 on the site s Top 100 Albums of the 1970s 84 It was ranked 433rd on Rolling Stone s list of the 500 Greatest Albums of All Time in 2012 316 and 368th on the 2020 updated list 317 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 The Times 100 Best Albums of All Time 1993 number 79 Allan Kozinn s The 100 Greatest Pop Albums of the Century published in 2000 Q s The 50 50 Best British Albums Ever 2004 Mojo s 70 of the Greatest Albums of the 70s 2006 the NME s 100 Greatest British Albums Ever 2006 number 86 Paste magazine s The 70 Best Albums of the 1970s 2012 number 27 and Craig Mathieson and Toby Creswell s The 100 Best Albums of All Time 2013 313 In January 2014 All Things Must Pass was inducted into the Grammy Hall of Fame 318 an award bestowed by the Recording Academy to honor recordings of lasting qualitative or historical significance that are at least 25 years old 319 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 262 Subsequent releases Edit2001 Edit 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 58 320 nb 30 Ken Scott engineered the reissue 322 which was remastered by Jon Astley 323 Harrison and Scott were shocked at the amount of reverb they had used in 1970 324 and were keen to remix the album but EMI vetoed the idea 212 The reissue appeared on Gnome Records a label set up by Harrison for the project 325 Harrison also oversaw revisions to Wilkes and Feinstein s album artwork 149 which included a colourised George amp the Gnomes front cover 149 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 94 nb 31 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 326 nb 32 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 328 As a further example of his willingness to embrace modern media 329 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 330 Titled All Things Must Pass 30th Anniversary Edition the new album contained five bonus tracks including I Live for You 331 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 332 In addition Harrison resequenced the content of Apple Jam so that the album closed with Out of the Blue as he had originally intended 93 149 Assisting Harrison with overdubs on the bonus tracks were his son Dhani Harrison singer Sam Brown and percussionist Ray Cooper 93 all of whom contributed to the recording of Brainwashed around this time 333 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 212 With Harrison undertaking extensive promotional work the 2001 reissue was a critical and commercial success 334 Having underestimated the album s popularity Capitol faced a back order of 20 000 copies in America 335 There the reissue debuted at number 4 on Billboard s Top Pop Catalog Albums chart 336 and topped the magazine s Internet Album Sales listings 337 In the UK it peaked at number 68 on the national albums chart 338 Writing in Record Collector Doggett described this success as a previously unheard of achievement for a reissue 339 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 340 With the release on iTunes of much of the Harrison catalogue in October 2007 341 the album re entered the US Top Pop Catalog chart peaking at number 3 342 2010 Edit 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 343 344 Each copy was individually numbered 345 346 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 272 a digitally remastered 24 bit version of the album was made available for download from Harrison s official website 343 344 The reissue coincided with the Harrison estate s similarly low key 347 release of the Ravi Shankar George Harrison box set Collaborations 348 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 349 350 2014 Edit All Things Must Pass was remastered again for the eight disc Harrison box set The Apple Years 1968 75 351 issued in September 2014 352 Also available as a separate double CD release the reissue reproduces Harrison s 2001 liner notes 353 and includes the same five bonus tracks that appeared on the 30th anniversary edition 351 In addition the box set s DVD contains the promotional film created for the 2001 reissue 354 2020 2021 Edit 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 355 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 356 On 10 June 2021 the release of a 50th anniversary edition was officially announced for 6 August 357 The reissue is available in seven varieties from Standard vinyl and CD editions up to an Uber Deluxe Edition box set 358 The most extensive editions contain 70 tracks across 5 CDs 8LPs including outtakes jams and 47 demos 42 of which are previously unreleased 359 and a scrapbook containing archival notes and track by track annotation curated by Olivia Harrison 358 The Uber Deluxe set adds a 44 page book on the creation of the 1970 triple album 357 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 358 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 360 The release received maximum scores from Mojo The Times The Daily Telegraph the Daily Mail the Daily Express Uncut and American Songwriter 361 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 361 In 2022 the 50th anniversary box set won the Grammy Award for Best Boxed or Special Limited Edition Package 362 Track listing EditAll songs written by George Harrison except where noted Original release Edit 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 10Side 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 49Side 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 44Side four I Dig Love 4 55 Art of Dying 3 37 Isn t It a Pity Version Two 4 45 Hear Me Lord 5 46Side 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 18Side six Apple Jam I Remember Jeep 8 07 Thanks for the Pepperoni 5 312001 remaster Edit Disc oneSides 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 57Disc twoSides 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 162021 50th Anniversary Super Deluxe Box Edit 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 28Disc 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 48Disc 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 01Personnel EditThe following musicians are either credited on the 2001 reissue of All Things Must Pass 322 or are acknowledged as having contributed after subsequent research 363 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 364 backing vocals Klaus Voormann bass guitar electric guitar on Out of the Blue nb 33 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 366 harmonium vibraphone Pete Ham acoustic guitar Tom Evans acoustic guitar Joey Molland acoustic guitar Mike Gibbins percussion Peter Frampton acoustic guitar 134 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 Accolades EditGrammy Awards Edit Year Nominee work Award Result1972 All Things Must Pass Album of the Year 266 Nominated My Sweet Lord Record of the Year 266 Nominated2014 All Things Must Pass Hall of Fame Award 319 Won2022 All Things Must Pass Best Boxed or Special Limited Edition Package 367 WonCharts EditWeekly charts Edit Original release Chart 1970 1971 PositionAustralian Go Set Top 20 Albums 368 1Australian Kent Music Report 369 1Canadian RPM 100 Albums 370 1Dutch MegaCharts Albums 371 1Japanese Oricon LP Chart 372 4Norwegian VG lista Albums 373 1Spanish Albums Chart 374 1Swedish Kvallstoppen Chart 375 1UK Albums Chart 338 1US Billboard Top LPs 337 1US Cash Box Top 100 Albums 376 1US Record World Album Chart 377 1West German Media Control Albums 378 10 Reissue Chart 2001 PositionFrench SNEP Albums Chart 379 68Japanese Oricon Albums Chart 372 46UK Albums Chart 338 68US Billboard Top Pop Catalog Albums 342 350th anniversary edition Chart 2021 PeakpositionAustralian Top Albums 380 9Austrian Albums O3 Austria 381 4Belgian Albums Ultratop Flanders 382 5Belgian Albums Ultratop Wallonia 383 8Canadian Albums Billboard 384 49Danish Albums Hitlisten 385 27Finnish Albums Suomen virallinen lista 386 26German Albums Offizielle Top 100 387 2Irish Albums OCC 388 22Italian Albums FIMI 389 38New Zealand Albums RMNZ 390 36Portuguese Albums AFP 391 19Scottish Albums OCC 392 1Swedish Albums Sverigetopplistan 393 13Swiss Albums Schweizer Hitparade 394 3UK Albums OCC 395 6US Billboard 200 396 7US Top Rock Albums Billboard 397 1 Year end charts Edit Chart 1971 PositionAustralian Kent Music Report 369 5Dutch Albums Chart 398 11US Billboard Year End 399 18Certifications EditRegion Certification Certified units salesCanada Music Canada 400 Gold 50 000 Denmark IFPI Danmark 401 Gold 10 000 United Kingdom BPI 402 Gold 100 000 United States RIAA 403 7 Platinum 7 000 000 Shipments figures based on certification alone Sales streaming figures based on certification alone Notes Edit In conversation with Lennon Harrison remarked that he already had enough compositions for the next ten years of Beatle releases 30 given his usual quota of two tracks per album 31 32 and the occasional B side 29 This is a view held by biographers Leng 44 and Joshua Greene 45 also as well as by music critics John Harris 5 David Fricke 43 and Richie Unterberger 46 Isn t It a Pity was another song passed over during these sessions 56 having similarly been turned down by Lennon 57 for inclusion on the Beatles Revolver album 1966 58 Soon after the tour Harrison gave My Sweet Lord and All Things Must Pass to Preston 69 who released the songs on his Encouraging Words album in September 1970 two months before Harrison s versions appeared 70 The face label on each side of disc three contained a jam jar painted by designer Tom Wilkes showing a piece of fruit inside the jar and two apple leaves on the outside 94 In other interviews Harrison similarly likened his situation to being constipated for years artistically while in the Beatles 99 Frampton said this was because Spector always wanted more acoustics more acoustics 135 In a 2014 interview Mason said he could not remember which tracks he played on but that his contributions were confined to acoustic rhythm guitar 136 Like Barham Tony Ashton had been a significant contributor to Harrison s Wonderwall Music album 139 In March 1970 Harrison and Clapton participated in the recording of I m Your Spiritual Breadman by Ashton s new band Ashton Gardner and Dyke 140 For similar reasons regarding record companies being possessive 144 of their artists 145 the musician credits on Cream s Goodbye album 1969 146 Jack Bruce s Songs for a Tailor 1969 and Delaney amp Bonnie s On Tour 1970 147 could only list Harrison under a pseudonym L Angelo Misterioso 148 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 158 159 Citing Wright s description that Harrison created a profoundly peaceful mood in the studio that complemented the quality of the musicianship musicologist Thomas MacFarlane likens the atmosphere to the sessions for Harrison s Indian style recordings for the Beatles such as Within You Without You 48 Drake also played on the bootlegged instrumental Pete Drake and His Amazing Talking Guitar 173 before returning to Nashville to gather material for Starr s country album Beaucoups of Blues 174 sessions for which began in the last week of June 175 Drake s visit to London also impacted on Frampton s career as he went on to adopt Drake s talking box guitar effect 176 177 Keys adds that it was only when they started working on Harrison s album that he and Price realised they were not going to join the other Friends personnel in Derek and the Dominos 191 Barham commented that Spector was aloof and distant with the musicians and his authoritarian tendencies contrasted sharply with Harrison s preference for letting the players find themselves in each song According to Molland recalling the Wah Wah playback Spector was hitting the Courvoisier pretty hard even by early afternoon but He was still Phil Spector the sound was incredible 202 This personal tragedy was the inspiration for a new Harrison composition the 1971 B side Deep Blue 204 205 Clapton s feelings for Boyd inspired many of his songs on Derek and the Dominos only studio album Layla and Other Assorted Love Songs 1970 145 After Boyd rejected him in November 1970 Clapton descended into full blown heroin addiction 206 which led to the break up of the band in early 1971 and the sidelining of his career until 1974 207 Leckie says that some of the overdubbing took place at EMI He recalls working with McDonald as Harrison added his lead vocal to Awaiting on You All by which point the horns and other overdubs were already in place 208 Lennon was recording his song Remember in one of the other studios there with Starr and Voormann The session tapes reveal Lennon s delight at Harrison s arrival 217 The albums were released respectively as Bobby Whitlock 1972 Footprint 1971 Straight Up 1971 and Bobby Keys 1972 221 Harrison also introduced Badfinger on stage before their opening night at Urgano s in New York City in November 1970 222 223 According to Harrison s recollection in a 1977 interview for Crawdaddy magazine 200 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 look ing like an asthmatic Leon Russell on the cover 235 Later in what author Alan Clayson views as a case of needling Paul rather than praising George 236 Lennon told Rolling Stone editor Jann Wenner that he preferred All Things Must Pass to the rubbish on McCartney 237 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 Lord Krishna who had hidden the bathers clothing in the branches of a nearby tree 91 Aside from the popularity of Harrison s recording the song attracted a large number of cover versions in 1971 252 The widespread success of My Sweet Lord worked against Harrison when a near bankrupt music publisher Bright Tunes pursued an ultimately successful claim of plagiarism against him in the US district court for unauthorised copyright infringement of the 1963 song He s So Fine 253 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 256 In July 2006 the Official UK Charts Company changed its records to show that All Things Must Pass was the top selling album throughout that time 256 Record producer Andrew Loog Oldham formerly the Rolling Stones manager recalls When All Things Must Pass came out I sat down and listened to it for three days It was the first album that sounded like one single 262 Immediately after Wings success Harrison again held both number 1 positions with his Give Me Love single and its parent album Living in the Material World 264 265 Capitol Canada executives presented Harrison with the platinum award in Toronto in December 1974 shortly before he performed at the city s Maple Leaf Gardens 271 Previewing the LP in the Detroit Free Press Mike Gormley said that Apple Jam constituted some exceptional hard rock and roll He concluded The album should sell for around 10 It s worth 50 280 Aside from non vocal albums such as Harrison s Wonderwall Music and Electronic Sound and Lennon s experimental work with Ono beginning with Two Virgins 1968 284 the solo albums up to January 1971 were as follows Lennon s Live Peace in Toronto 1969 Starr s Sentimental Journey 1970 McCartney Beaucoups of Blues All Things Must Pass and John Lennon Plastic Ono Band 285 Mick Brown writing in The Daily Telegraph also considers it the best of all the Beatles solo albums 196 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 321 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 94 The revised artwork for All Things Must Pass was credited to WhereforeArt 94 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 Cloud Nine 1987 might be Your Planet Is Doomed Volume One 327 In Leng s book Voormann states 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 365 References Edit Moon p 346 a b c Ben Gerson George Harrison All Things Must Pass Archived 28 April 2013 at the Wayback Machine Rolling Stone 21 January 1971 p 46 retrieved 5 June 2013 a b c Schaffner p 140 Larkin p 2635 a b c d Harris p 68 George Harrison p 164 Leng pp 39 51 52 Tillery p 86 Leng p 39 George Harrison pp 55 57 58 Lavezzoli pp 176 177 184 85 Leng pp 39 53 54 Artist Cream Official Charts Company retrieved 16 January 2013 Sulpy amp Schweighardt pp 1 85 124 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 Leng pp 39 55 Leng pp 60 62 71 72 319 O Dell pp 106 07 Rodriguez p 1 Miles pp 351 360 62 Clayson pp 206 08 267 Spizer p 341 Miles p 367 Rodriguez p 21 George Harrison in George Harrison Living in the Material World DVD Village Roadshow 2011 directed by Martin Scorsese produced by Olivia Harrison Nigel Sinclair amp Martin Scorsese The Beatles p 350 Spizer p 28 Schaffner pp 137 38 a b Hertsgaard p 283 a b c d e f g Spizer p 220 Schaffner p 135 Tillery pp 68 87 Miles p 335 The Editors of Rolling Stone p 38 Huntley p 19 Clayson p 285 Lavezzoli p 185 Tillery p 87 Clayson p 284 O Dell pp 155 56 Hertsgaard p 277 Huntley pp 30 31 a b c The Editors of Rolling Stone p 180 Leng p 82 Greene pp 179 221 a b c d Richie Unterberger George Harrison All Things Must Pass AllMusic retrieved 28 April 2012 a b c Olivia Harrison p 282 a b MacFarlane p 72 Spizer pp 212 225 Leng p 52 Madinger amp Easter p 423 Sulpy amp Schweighardt p 8 a b Lavezzoli p 186 a b c The Editors of Rolling Stone p 187 Huntley p 21 The Editors of Rolling Stone pp 38 187 Sulpy amp Schweighardt p 269 MacDonald p 302fn a b c d e f g h i j Harris p 72 Leng p 85 Timothy White George Harrison Reconsidered Musician November 1987 p 55 a b Leng p 91 George Harrison p 188 Andy Davis Billy Preston Encouraging Words CD liner notes Apple Records 2010 produced by George Harrison amp Billy Preston Clayson p 273 George Harrison p 206 a b Harris p 70 Leng pp 67 71 88 89 Clayson pp 280 81 Castleman amp Podrazik p 91 a b George Harrison p 172 Allison p 47 a b c d e Schaffner p 142 Inglis p 29 Madinger amp Easter pp 426 431 Inglis p 28 George Harrison p 198 Badman pp 6 7 Inglis pp 28 29 Clayson p 297 Leng p 319 Leng pp 68 102 Leng pp 87 92 102 157 a b Top 100 Albums of the 1970s Pitchfork 23 April 2006 archived version retrieved 14 October 2014 Lavezzoli p 197 Huntley pp 53 56 61 Leng pp 76 86 a b Jim Irvin George Harrison All Things Must Pass Apple Rock s Backpages 2000 subscription required retrieved 28 November 2020 a b Clayson p 292 Leng pp 101 02 a b c d e f Spizer p 226 Huntley p 60 a b c Timothy White George Harrison All Things in Good Time billboard com 8 January 2001 retrieved 3 June 2014 a b c d Spizer p 228 a b c Madinger amp Easter p 432 a b Castleman amp Podrazik p 94 a b 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 Spizer p 230 a b The Editors of Rolling Stone p 137 a b c d Badman p 10 Madinger amp Easter pp 426 27 Womack p 26 a b c d e Madinger amp Easter p 426 Richie Unterberger George Harrison Beware of ABKCO AllMusic retrieved 2 March 2016 Huntley pp 18 19 Leng pp 52 78 Unterberger pp 286 88 Leng p 180 a b c d Madinger amp Easter p 433 Madinger amp Easter pp 433 434 Badman p 25 Leng p 198 Clayson p 280 Huntley pp 305 306 Huntley pp 60 325 Leng pp 292 303 a b c Unterberger p 288 Rodriguez p 384 a b c Leng p 78 a b Leng p 82fn Rodriguez p 76 Schaffner pp 142 147 a b Huntley p 51 Spizer pp 220 222 Leng pp 63 78 Clayson p 287 Leng pp 56 81 Rodriguez pp 87 88 a b c d Spizer p 222 Huntley p 52 a b Matovina p 90 The Editors of Rolling Stone pp 39 40 187 Harry p 161 a b c d Harry p 180 Tim Jones Peter Frampton Still Alive Record Collector April 2001 p 83 Ken Sharp Dave Mason Takes an Alternate Path down Memory Lane with Future s Past Goldmine 23 September 2014 retrieved 23 December 2020 Leng pp 80 82fn 83fn Leng pp 78 82fn 86 98 Castleman amp Podrazik p 198 Leng p 69 a b Woffinden p 38 a b c Carr amp Tyler p 92 Harry p 13 a b c d Harris p 73 a b The Editors of Rolling Stone p 176 A Conversation with George Harrison event occurs between 3 14 and 3 41 Tillery p 161 Castleman amp Podrazik pp 199 205 a b c d Huntley p 305 Jordan Runtagh 10 Things You Didn t Know George Harrison Did Rolling Stone 29 November 2016 retrieved 8 May 2019 Will Hodgkinson Home Entertainment Phil Collins The Guardian 14 November 2002 retrieved 5 November 2020 Rodriguez p 24 Gibb Songs 1970 Columbia edu retrieved 10 November 2011 Cindy Grogan George Harrison s All Things Must Pass at 50 CultureSonar 18 October 2020 retrieved 11 November 2020 Madinger amp Easter p 429 a b c Leng p 81 Schaffner p 138 a b George Harrison s liner notes booklet accompanying All Things Must Pass reissue Gnome Records 2001 produced by George Harrison amp Phil Spector Leng p 77 a b Cunningham p 66 Tom Doyle John Leckie A Desk Job Melody Maker 3 June 1995 available at Rock s Backpages subscription required retrieved 30 January 2021 Madinger amp Easter pp 427 429 431 MacFarlane pp 71 72 Leng p 80 a b c d Mat Snow George Harrison Quiet Storm Mojo November 2014 p 70 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 a b Jackson p 19 a b c Madinger amp Easter p 428 MacFarlane p 73 a b George Harrison in George Harrison Living in the Material World Disc 2 event occurs between 23 53 and 24 25 MacFarlane pp 73 157 Madinger amp Easter pp 428 31 Madinger amp Easter p 434 Woffinden pp 36 37 Badman pp 11 12 Bauer Xcel Pete Drake and His Talking Steel Guitar mojo4music com 6 December 2013 retrieved 30 January 2021 Tony Sokol Peter Frampton s First Memoir Do You Feel Like I Do to Hit Bookshelves Oct 20 Den of Geek 11 October 2020 retrieved 30 January 2021 Ribowsky p 255 Joe Bosso Alan White from Yes What the Beatles Mean to Me MusicRadar 11 September 2009 retrieved 11 November 2020 Matovina pp 90 91 Melissa Parker Gary Wright Interview The Dream Weaver Gets Connected Tours with Ringo Starr Smashing Interviews 28 September 2010 retrieved 30 October 2020 a b 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 Leng pp 100 01 a b c d e f g h Madinger amp Easter p 427 Castleman amp Podrazik pp 92 207 Rodriguez p 77 Reid pp 104 105 Castleman amp Podrazik p 197 Davis p 336 Keys pp 102 03 Keys pp 101 03 Whitlock pp 74 77 a b Whitlock p 77 Harris pp 72 73 Phil Spector interview in George Harrison Living in the Material World Disc 2 event occurs between 20 54 and 21 13 a b Mick Brown George Harrison Fabbest of the Four The Daily Telegraph 30 September 2011 available at Rock s Backpages subscription required retrieved 6 November 2020 Badman p 6 It s Really a Pity Contra Band Music 15 March 2012 retrieved 19 January 2013 Badman pp 6 10 15 a b c d e f The Editors of Rolling Stone p 40 a b c d Clayson p 289 a b Leng pp 80 81 Badman p 12 Greene p 178 Inglis pp 33 34 Clayson pp 289 297 309 Romanowski amp George Warren p 183 Cunningham pp 67 68 Madinger amp Easter pp 427 429 Spizer pp 212 222 MacFarlane pp 76 79 a b c d Todd L Burns host Ken Scott Red Bull Music Academy Lecture New York redbullmusicacademy com 2013 retrieved 14 November 2020 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 Tom Pinnock George Solo All Things Must Pass Uncut Ultimate Music Guide George Harrison TI Media London 2018 p 54 Leng p 102 Badman p 14 Hertsgaard pp 307 08 Spizer p 294 MacFarlane pp 80 81 Leng pp 108 110 123 Castleman amp Podrazik pp 105 08 115 Matovina p 110 Badman p 15 A Conversation with George Harrison event occurs between 0 56 and 1 36 a b Clayson p 291 a b John Harris Beware of Darkness Mojo November 2011 p 82 David Cavanagh George Harrison The Dark Horse Uncut August 2008 p 41 Cunningham p 67 Madinger amp Easter pp 427 28 Unterberger pp 289 90 Clayson p 293 Leng p 95 Dennis McLellan Barry Feinstein dies at 80 rock music photographer Chicago Tribune 21 October 2011 retrieved 22 November 2014 Huntley p 64 Doggett p 148 Clayson p 305 a b c Badman p 16 Spizer pp 221 226 Spizer pp 226 28 Clayson pp 293 94 a b Woffinden p 37 a b Ingham p 127 The Editors of Rolling Stone pp 179 80 Clayson p 294 Jackson p 28 Rodriguez pp 254 55 Doggett pp 148 49 153 54 MacFarlane p 80 Doggett pp 141 42 Kitty Empire Paul McCartney Leaves the Beatles The Guardian 12 June 2011 retrieved 6 December 2019 Champ p 150 a b Clayson p 295 Woffinden pp 99 102 Spizer p 231 Clayson p 296 a b c Number one for Harrison at last Liverpool Echo 31 July 2006 retrieved 24 December 2016 Castleman amp Podrazik pp 340 41 a b Spizer p 219 Castleman amp Podrazik pp 352 362 RPM Top 100 Albums July 17 1971 PDF Ribowsky pp 255 56 a b Harvey Kubernik George Harrison All Things Must Pass 50th Anniversary Music Connection 10 November 2020 retrieved 12 November 2020 Peter Doggett George Harrison The Apple Years Record Collector April 2001 p 37 a b Castleman amp Podrazik pp 353 364 Spizer pp 153 156 a b c Grammy Awards 1972 awardsandshows com retrieved 17 September 2014 1971 Grammy Champions Billboard 25 March 1972 p 6 retrieved 17 September 2014 Castleman amp Podrazik p 332 Gold amp Platinum Database Search Harrison Recording Industry Association of America retrieved 12 February 2013 Certified for Canadian Gold CRIA trade advertisement RPM 11 January 1975 p 6 retrieved 12 May 2021 Capitol Canada Billboard 8 February 1975 p 61 retrieved 17 June 2021 a b c d John Bergstrom George Harrison All Things Must Pass Archived 30 January 2013 at the Wayback Machine PopMatters 14 January 2011 retrieved 10 March 2012 Tillery p 89 Champ pp 150 51 Chris Hunt ed NME Originals Beatles The Solo Years 1970 1980 IPC Ignite London 2005 p 22 a b 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Huntley pp 307 08 Huntley p 307 Billboard Top Pop Catalog Albums Billboard 10 February 2001 p 13 retrieved 11 February 2013 a b All Things Must Pass gt Charts amp Awards gt Billboard Albums AllMusic archived version retrieved 16 November 2020 a b c Artist George Harrison gt Albums gt All Things Must Pass Chart Facts Official Charts Company retrieved 3 March 2016 Peter Doggett Editorial The Virtues of Vinyl Record Collector April 2001 p 2 Billboard charts Billboard 26 January 2002 p 66 retrieved 11 February 2013 Jonathan Cohen George Harrison Catalog Goes Digital billboard com 10 October 2007 retrieved 10 December 2014 a b Billboard Top Pop Catalog Billboard 27 October 2007 p 78 retrieved 11 February 2013 a b Mike Duquette All Things Come to Pass theseconddisc com 19 October 2010 retrieved 16 November 2014 a b George Harrison 40th Anniv All Things Must Pass 3 LP Collection Glide Magazine 4 November 2010 retrieved 7 December 2015 Daniel Kreps George Harrison s All Things Must Pass to Be 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retrieved 4 October 2014 Hal Horowitz George Harrison The Apple Years 1968 75 American Songwriter 23 September 2014 retrieved 4 October 2014 Joe Marchese Review The George Harrison Remasters The Apple Years 1968 1975 theseconddisc com 23 September 2014 retrieved 4 October 2014 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 Emily Tan George Harrison Estate Releases Stereo Mix of All Things Must Pass Spin 27 November 2020 retrieved 27 November 2020 All Things Must Pass at 50 BBC Online 21 November 2020 archived version retrieved 29 November 2020 a b Jason Friedman George Harrison s All Things Must Pass Getting 50th Anniversary Deluxe Reissue Paste 10 June 2021 retrieved 10 June 2021 a b c Paul Sinclair George Harrison All Things Must Pass 50th anniversary editions Super Deluxe Edition 10 June 2021 retrieved 14 June 2021 All Things Must Pass 50th Anniversary Official Trailer George Harrison at YouTube 10 June 2021 retrieved 11 June 2021 All Things Must Pass 50th Anniversary Super Deluxe Edition Box Set Metacritic retrieved 2 October 2021 a b 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 2022 Grammy Awards The full list of nominees and winners npr org 3 April 2022 retrieved 5 April 2022 Leng pp 78 82 102 Whitlock pp 75 76 79 82 Leng p 102fn Harry p 24 2021 Grammy Winners grammy com retrieved 7 April 2022 Go Set Australian charts 3 April 1971 Archived 29 June 2011 at the Wayback Machine poparchives com au retrieved 22 February 2017 a b David Kent Australian Chart Book 1970 1992 Australian Chart Book St Ives NSW 1993 RPM Top 100 Albums December 26 1970 PDF George Harrison All Things Must Pass dutchcharts nl retrieved 12 September 2011 a b George Harrison Chart Action Japan Archived 3 February 2009 at the Wayback Machine homepage1 nifty com retrieved 11 February 2013 George Harrison All Things Must Pass norwegiancharts com retrieved 12 September 2011 Fernando Salaverri Solo exitos Ano a ano 1959 2002 Fundacion Autor SGAE Spain 2005 ISBN 84 8048 639 2 Swedish Charts 1969 1972 Kvallstoppen Listresultaten vecka for vecka gt Februari 1971 gt 9 Februari in Swedish hitsallertijden nl retrieved 13 February 2013 Note Kvallstoppen combined sales for albums and singles in the one chart All Things Must Passtopped the albums listings for six weeks from 2 February to 9 March 1971 Cash Box Top 100 Albums Cash Box 9 January 1971 p 21 Frank Mitchell ed The Album Chart Record World 16 January 1971 p 30 Album George Harrison All Things Must Pass charts de retrieved 11 February 2013 Tous les Albums classes par Artiste gt Choisir un Artiste dans la Liste in French infodisc fr archive version retrieved 13 February 2013 George Harrison All Things Must Pass album australiancharts com retrieved 3 October 2021 Austriancharts at George Harrison All Things Must Pass in German Hung Medien Retrieved 17 August 2021 Ultratop be George Harrison All Things Must Pass in Dutch Hung Medien Retrieved 15 August 2021 Ultratop be George Harrison All Things Must Pass in French Hung Medien Retrieved 15 August 2021 George Harrison Chart History Canadian Albums Billboard Retrieved 17 August 2021 Hitlisten NU Album Top 40 Uge 32 2021 Hitlisten Retrieved 17 August 2021 Albumit 32 2021 in Finnish Musiikkituottajat Retrieved 15 August 2021 Offiziellecharts de George Harrison All Things Must Pass in German GfK Entertainment Charts Retrieved 13 August 2021 Official Irish Albums Chart Top 50 Official Charts Company Retrieved 13 August 2021 Album Classifica settimanale WK 32 dal 6 8 2021 al 12 8 2021 in Italian Federazione Industria Musicale Italiana Retrieved 14 August 2021 NZ Top 40 Albums Chart Recorded Music NZ 16 August 2021 Retrieved 14 August 2021 Portuguesecharts com George Harrison All Things Must Pass Hung Medien Retrieved 4 September 2021 Official Scottish Albums Chart Top 100 Official Charts Company Retrieved 13 August 2021 Veckolista Album vecka 32 Sverigetopplistan Retrieved 13 August 2021 Swisscharts com George Harrison All Things Must Pass Hung Medien Retrieved 15 August 2021 Official Albums Chart Top 100 Official Charts Company Retrieved 13 August 2021 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 George Harrison Chart History Top Rock Albums Billboard Retrieved 17 August 2021 Jaaroverzichten Album 1971 dutchcharts nl retrieved 10 March 2015 Billboard 1970 s Album Top 50 Part 1 gt 1971 Archived 6 March 2012 at the Wayback Machine 7 December 2007 retrieved 13 February 2013 Canadian album certifications George Harrison All Things Must Pass Music Canada Danish album certifications George Harrison All Things Must Pass IFPI Danmark Retrieved 4 January 2022 British album certifications George Harrison All Things Must Pass British Phonographic Industry American album certifications George Harrison All Things Must Pass Recording Industry Association of America Retrieved 26 January 2022 Sources EditDale C Allison Jr The Love There That s Sleeping The Art and Spirituality of George Harrison Continuum New York NY 2006 ISBN 978 0 8264 1917 0 Keith Badman The Beatles Diary Volume 2 After the Break Up 1970 2001 Omnibus Press London 2001 ISBN 0 7119 8307 0 The Beatles The Beatles Anthology Chronicle Books San Francisco CA 2000 ISBN 0 8118 2684 8 Nathan Brackett amp Christian Hoard eds The New Rolling Stone Album Guide 4th edn Fireside Simon amp Schuster New York NY 2004 ISBN 0 7432 0169 8 Roy Carr amp Tony Tyler The Beatles An Illustrated Record Trewin Copplestone Publishing London 1978 ISBN 0 450 04170 0 Harry Castleman amp Walter J Podrazik All Together Now The First Complete Beatles Discography 1961 1975 Ballantine Books New York NY 1976 ISBN 0 345 25680 8 Hamish Champ 100 Best Selling Albums of the 70s Amber Books London 2018 ISBN 978 1 78274 620 1 Robert Christgau Christgau s Record Guide Rock Albums of the Seventies Ticknor amp Fields Boston MA 1981 ISBN 0 89919 025 1 Alan Clayson George Harrison Sanctuary London 2003 ISBN 1 86074 489 3 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 ISBN 978 1860742422 Stephen Davis Old Gods Almost Dead The 40 Year Odyssey of the Rolling Stones Broadway Books New York NY 2001 ISBN 0 7679 0312 9 Peter Doggett You Never Give Me Your Money The Beatles After the Breakup It Books New York NY 2011 ISBN 978 0 06 177418 8 The Editors of Rolling Stone Harrison Rolling Stone Press Simon amp Schuster New York NY 2002 ISBN 0 7432 3581 9 Michael Frontani The Solo Years in Kenneth Womack ed The Cambridge Companion to the Beatles Cambridge University Press Cambridge UK 2009 ISBN 978 1 139 82806 2 pp 153 82 Gary Graff amp Daniel Durchholz eds MusicHound Rock The Essential Album Guide Visible Ink Press Farmington Hills MI 1999 ISBN 1 57859 061 2 Joshua M Greene Here Comes the Sun The Spiritual and Musical Journey of George Harrison John Wiley amp Sons Hoboken NJ 2006 ISBN 978 0 470 12780 3 John Harris A Quiet Storm Mojo July 2001 pp 66 74 George Harrison I Me Mine Chronicle Books San Francisco CA 2002 ISBN 0 8118 3793 9 Olivia Harrison George Harrison Living in the Material World Abrams New York NY 2011 ISBN 978 1 4197 0220 4 Bill Harry The George Harrison Encyclopedia Virgin Books London 2003 ISBN 978 0 7535 0822 0 Mark Hertsgaard A Day in the Life The Music and Artistry of the Beatles Pan Books London 1996 ISBN 0 330 33891 9 David N Howard Sonic Alchemy Visionary Music Producers and Their Maverick Recordings Hal Leonard Milwaukee WI 2004 ISBN 978 0 634 05560 7 Elliot J Huntley Mystical One George Harrison After the Break up of the Beatles Guernica Editions Toronto ON 2006 ISBN 1 55071 197 0 Chris Ingham The Rough Guide to the Beatles Rough Guides Penguin London 2006 2nd edn ISBN 978 1 84836 525 4 Ian Inglis The Words and Music of George Harrison Praeger Santa Barbara CA 2010 ISBN 978 0 313 37532 3 Jim Irvin ed The Mojo Collection The Greatest Albums of All Time Mojo Books Edinburgh 2001 ISBN 1 84195 067 X Andrew Grant Jackson Still the Greatest The Essential Solo Beatles Songs Scarecrow Press Lanham MD 2012 ISBN 978 0 8108 8222 5 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 ISBN 978 1 58243 783 5 Colin Larkin The Encyclopedia of Popular Music 5th edn Omnibus Press London 2011 ISBN 978 0 85712 595 8 Peter Lavezzoli The Dawn of Indian Music in the West Continuum New York NY 2006 ISBN 0 8264 2819 3 Simon Leng While My Guitar Gently Weeps The Music of George Harrison Hal Leonard Milwaukee WI 2006 ISBN 1 4234 0609 5 Ian MacDonald Revolution in the Head The Beatles Records and the Sixties Pimlico London 1998 ISBN 0 7126 6697 4 Thomas MacFarlane The Music of George Harrison Routledge Abingdon UK 2019 ISBN 978 1 138 59910 9 Chip Madinger amp Mark Easter Eight Arms to Hold You The Solo Beatles Compendium 44 1 Productions Chesterfield MO 2000 ISBN 0 615 11724 4 Dan Matovina Without You The Tragic Story of Badfinger Frances Glover Books 2000 ISBN 0 9657122 2 2 Barry Miles The Beatles Diary Volume 1 The Beatles Years Omnibus Press London 2001 ISBN 0 7119 8308 9 Tom Moon 1 000 Recordings to Hear Before You Die Workman Publishing New York NY 2008 ISBN 978 0 7611 5385 6 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 ISBN 978 1 4165 9093 4 Jan Reid Layla and Other Assorted Love Songs by Derek and the Dominos Rodale New York NY 2006 ISBN 978 1 59486 369 1 Mark Ribowsky He s a Rebel Phil Spector Rock and Roll s Legendary Producer Da Capo Press Cambridge MA 2006 ISBN 978 0 306 81471 6 Robert Rodriguez Fab Four FAQ 2 0 The Beatles Solo Years 1970 1980 Backbeat Books Milwaukee WI 2010 ISBN 978 1 4165 9093 4 Patricia Romanowski amp Holly George Warren eds The New Rolling Stone Encyclopedia of Rock amp Roll Fireside Rolling Stone Press New York NY 1995 ISBN 0 684 81044 1 Nicholas Schaffner The Beatles Forever McGraw Hill New York NY 1978 ISBN 0 07 055087 5 Bruce Spizer The Beatles Solo on Apple Records 498 Productions New Orleans LA 2005 ISBN 0 9662649 5 9 Doug Sulpy amp Ray Schweighardt Get Back The Unauthorized Chronicle of The Beatles Let It Be Disaster St Martin s Griffin New York 1997 ISBN 0 312 19981 3 Gary Tillery Working Class Mystic A Spiritual Biography of George Harrison Quest Books Wheaton IL 2011 ISBN 978 0 8356 0900 5 Richie Unterberger The Unreleased Beatles Music amp Film Backbeat Books San Francisco CA 2006 ISBN 0 87930 892 3 Bobby Whitlock with Marc Roberty Bobby Whitlock A Rock n Roll Autobiography McFarland Jefferson NC 2010 ISBN 978 0 7864 6190 5 Richard Williams Phil Spector Out of His Head Omnibus Press London 2003 ISBN 978 0 7119 9864 3 Bob Woffinden The Beatles Apart Proteus London 1981 ISBN 0 906071 89 5 Kenneth Womack The Beatles Encyclopedia Everything Fab Four ABC CLIO Santa Barbara CA 2014 ISBN 978 0 313 39171 2 Further reading EditSam 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 Rock 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 links EditOfficial website All Things Must Pass at Discogs list of releases Portion of Phil Spector s notes on Harrison s early mixes Producer David Hentschel s recollections of working on the album Retrieved from https en wikipedia org w index php title All Things Must Pass amp oldid 1135095835, wikipedia, wiki, book, books, library,

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