George Harrison All Things Must Pass Full Album Torrent

1. All Things Must Pass Movie

'All Things Must Pass' is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as 'All Things (Must) Pass' – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band's sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary's poem 'All Things Pass', a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.

Two demos of songs that did make the album, 'Beware of Darkness' and 'Let It Down' (with overdubs from 2000), would eventually be released on the remastered All Things Must Pass. Full discs of electric outtakes from the recording sessions would also leak on bootlegs in later years, and some of those. Often named among the best or the best Beatles‘ solo album, All Things Must Pass, Harrison’s third overall album and first serious studio LP, was an enormous commercial and critical success, complete with hit singles, including chart-topper “My Sweet Lord.”. George Harrison & Phil Spector. Studio: EMI Studios.

The subject matter deals with the transient nature of human existence, and in Harrison's All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein's album cover image, commentators viewed the song as a statement on the Beatles' break-up. Widely regarded as one of Harrison's finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described 'All Things Must Pass' as 'the wisest song never recorded by The Beatles',^[1] while author Simon Leng considers it 'perhaps the greatest solo Beatle composition'.^[2] The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.

Although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation Anthology 3 (1996). An early version from the All Things Must Pass sessions was released on Harrison's posthumous compilation Early Takes: Volume 1 in 2012. Paul McCartney performed 'All Things Must Pass' at the Concert for George tribute in November 2002, a year after Harrison's death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, and Sloan Wainwright are among the other artists who have covered the song.

• 3Pre-All Things Must Pass recording history

Background[edit]

Like his friend Eric Clapton, George Harrison was inspired by Music from Big Pink, the seminal debut album^[3] from the Band, the former backing group for Bob Dylan.^[4][5] Released in July 1968, Music from Big Pink was partly responsible for Harrison's return to the guitar, his first instrument,^[6] after he had spent two years attempting to master the more complex Indian sitar.^[7][8] Harrison duly shared his enthusiasm with the British music press, declaring Big Pink 'the new sound to come from America', drummer Levon Helm later recalled, thus helping to establish the Band internationally.^[9] In appreciation, Robbie Robertson, the Band's guitarist, extended an invitation to Harrison to stop by in Woodstock, New York, when the opportunity arose.^[10]

– George Harrison to Musician magazine, 1987

Late in 1968, after producing sessions in Los Angeles for a solo album by Apple Records signing Jackie Lomax,^[12] Harrison spent Thanksgiving and much of December in upstate New York,^[13] where he renewed his friendship with a now semi-retired Dylan and took part in informal jam sessions with the Band.^[1][14] According to Helm, they discussed making a possible 'fireside jam' album with Clapton and an Apple Films 'rock western' called Zachariah, but neither project progressed beyond the planning stage.^[9] The bucolic surroundings proved fruitful for Harrison as a songwriter, producing his first collaboration with Dylan, 'I'd Have You Anytime',^[15] and leading him to write 'All Things Must Pass'.^[16][17] He later described the latter song as a 'Robbie Robertson–Band type of tune',^[18] and said that he always imagined it being sung by Helm.^[19]

Composition[edit]

While discussing 'All Things Must Pass' with music journalist Timothy White in 1987, Harrison recalled that his 'starting point' for the composition was Robertson's 'The Weight' – a song that had 'a religious and a country feeling to it'.^[11] Musically, the verses of 'All Things Must Pass' are set to a logical climb within the key of E;^[20] the brief choruses form a departure from this, with their inclusion of a B minor chord rather than the more expected major voicing. Author Ian Inglis notes that the composition incorporates the same 'modes, cadences and suspensions' found in Band songs such as 'The Weight' and 'The Night They Drove Old Dixie Down'.^[21]

For his lyrics, Harrison drew inspiration from 'All Things Pass', a poem published in Timothy Leary's 1966 book Psychedelic Prayers after the Tao Te Ching.^{[16][22][nb 1]} In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the song originating from 'all kinds of mystics and ex-mystics', including Leary.^[18] Like later Harrison compositions such as 'Here Comes the Sun', 'So Sad' and 'Blow Away', the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature.^[25] Harrison states in the opening lines of verse one: 'Sunrise doesn't last all morning / A cloudburst doesn't last all day'.^[26]

According to Harrison biographer Simon Leng, the lyrics reflect 'life's ephemeral character' and the 'transitory' nature of love.^[27] Inglis suggests that the song is '[o]stensibly' about 'the end of a love affair'.^[21] He and theologian Dale Allison note the optimism offered in Harrison's words,^[21][28] since, as Leng puts it, 'a new day always dawns.'^[27] Although 'All Things Must Pass' avoids religiosity, Allison writes that its statement on the 'all-inclusive' transience of things in the material world explains why so much of its 1970 parent album, All Things Must Pass, 'finds hope and meaning only in God, who does not pass away'.^[29] The song's main message is offered in its middle eight:^[30][31]

All things must pass
None of life's strings can last
So I must be on my way
And face another day.

Ultimately, the cycle of nature offers 'consolation', Leng writes,^[30] as further evidenced in the verse-three lines 'Now the darkness only stays at night time' and 'Daylight is good at arriving at the right time'.^[21]

The lyrics underwent some minor changes after Harrison presented the song to the Beatles in January 1969, when they began working at London's Twickenham Film Studios for the so-called Get Back project (released as the Let It Bealbum and film).^[32] He had initially written the second line of verse two as the more literal 'A wind can blow those clouds away',^[33] but bootlegs from the sessions reveal John Lennon suggesting the word 'mind' to introduce a bit of 'psychedelia' into the song.^[34] Similarly, the repeated line 'it's not always gonna be this grey' was originally 'It's not always been this grey' in verses one and two.^[35]

Pre-All Things Must Pass recording history[edit]

The Beatles' Get Back rehearsals[edit]

In contrast with the creative equality he enjoyed with Dylan and the Band in Woodstock,^[36][37] Harrison returned to the Beatles fold and found the same discordant atmosphere that had blighted the White Album sessions in 1968.^[5][38] Early on during the Get Back rehearsals – and tellingly, music journalist John Harris notes, before the arrival that day of Lennon and his partner Yoko Ono – Harrison enthused with fellow Beatles Ringo Starr and Paul McCartney about the Band's camaraderie and group ethos, saying: 'They're just living, and they happen to be a band as well.'^[39]

– Harrison to Crawdaddy, 1977

On 2 January, day one of the Twickenham film shoot,^[40] Harrison introduced 'All Things Must Pass', and the band worked on the song intermittently over the next four days of filming.^[41][42] In the search for a suitable musical arrangement, Harrison stressed his preference for a 'feel' akin to the Band, a suggestion that resulted in Lennon switching from guitar to Lowrey organ, a keyboard favoured by the Band's Garth Hudson.^[43] During the Twickenham rehearsals, the Beatles also discussed the idea of Harrison performing 'All Things Must Pass' solo for inclusion in the proposed film.^[44]

They returned to the song briefly towards the end of January, by which time the project had moved location to their own Apple Studio, in central London^[32] – one of Harrison's conditions for rejoining the Beatles after his temporary walkout on 10 January.^[3][45] Although the band gave a fair amount of time to 'All Things Must Pass', it was ultimately put aside,^[46] just as other Harrison compositions including 'Old Brown Shoe', 'Isn't It a Pity', 'Let It Down' and 'I Me Mine' received a lukewarm reception,^[47][48] particularly from Lennon.^[49][50]David Fricke of Rolling Stone has referred to this period as a 'struggle' for Harrison 'against the patronizing restrictions of writing within and for the Beatles'.^[51] Doug Sulpy and Ray Schweighardt, authors of Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster, observe that Lennon and McCartney routinely rejected Harrison's songs, 'even though some were far better than their own'.^[52]

The Beatles never formally recorded 'All Things Must Pass',^[32] and only rehearsal takes circulate on bootleg compilations from the sessions.^[53] The Fly on the Wall bonus disc accompanying the McCartney-instigated Let It Be... Naked album (2003) includes a snippet of the Beatles indulging in some Band-like chorusing on the song.^[54]

Harrison's solo demo[edit]

During the Beatles' Apple Studio session on 28 January,^[55] Harrison talked with Lennon and Ono about possibly doing a solo album of his unused songs, in order to 'preserve this, the Beatle bit, more'.^[56] Lennon offered his support for the idea.^[56] While author Bruce Spizer has suggested that Lennon was keen to 'spare' the band from having to work on Harrison's songs,^[57] Sulpy and Schweighardt consider that Lennon's enthusiasm was because such a solo project would allow him and Ono to continue their own recording activities 'without causing friction within The Beatles'.^{[55][nb 2]}

On 25 February 1969, his 26th birthday, Harrison entered Abbey Road Studios alone and recorded a demo of the song, along with other recent compositions 'Old Brown Shoe' and 'Something'.^[59][60] With Ken Scott serving as engineer,^[1] he recorded two takes of 'All Things Must Pass', adding extra electric guitar onto the second.^[32][61] This version was eventually released in 1996 on the Beatles' outtake collection Anthology 3.^[32]

Billy Preston's version[edit]

Soon after Harrison had begun talking publicly about making a solo album, during the final months of 1969,^[62][63] he offered 'All Things Must Pass', along with the more recent 'My Sweet Lord', to Billy Preston for the latter's album Encouraging Words.^[64][65] Through Harrison's invitation,^[66] Preston had played keyboards for the Beatles once the Get Back/Let It Be sessions resumed at Apple Studio,^[32][67] where the 22-year-old Texan had impressed with his superior musicianship and convivial presence.^[68][69] Preston was soon offered a recording deal with Apple Records,^[70]Encouraging Words being the second album under the contract.^[71][72]

Co-produced by Harrison, Preston's reading of 'All Things Must Pass' betrays an obvious debt to his former mentor, Ray Charles.^[73] While Harrison's later recording is generally viewed as the definitive version,^[74] Bruce Eder of AllMusic considers this treatment of the song the superior of the two.^[75] Preston's version appeared in September 1970,^[76] five months after the Beatles' break-up.^[77]

All Things Must Pass recording[edit]

While completing his production on Preston's release,^[78] Harrison chose to record the song himself for what became the title track of his post-Beatles solo debut, the triple album All Things Must Pass.^[79] In describing 'All Things Must Pass' as a 'haunting hymn about the mortality of everything', author Elliot Huntley notes the added poignance in Harrison's version, due to the death of his mother in July 1970 after a long period of illness.^[80]

With Phil Spector as his co-producer, Harrison taped the basic track at Abbey Road Studios between 26 May and early in June.^[81] Other participants included Clapton, German bassist Klaus Voormann and Starr, the latter another avowed Band fan.^[82] Leng credits the song's piano part to Bobby Whitlock, who also sang backing vocals with Clapton,^[27] his future bandmate in Derek and the Dominos.^[83] In his 2010 autobiography, Whitlock states that it was Preston who played the piano on 'All Things Must Pass', while his own contribution was pump organ, or harmonium.^{[84][nb 3]} Although Leng lists both Harrison and Clapton as having played acoustic guitar and Starr and Jim Gordon on drums,^[27] according to the personnel that Whitlock offers, neither Clapton nor Gordon played on the song.^[87] Among the overdubs on the track, Nashville session musician Pete Drake recorded a pedal-steel guitar part during a brief visit to London,^[88] to participate in sessions for Harrison songs such as 'Behind That Locked Door' and 'I Live for You'.^{[89][nb 4]}

– Harrison discussing the reception his compositions received during the album sessions

Spector's erratic behaviour^[92] during the All Things Must Pass sessions left Harrison to handle most of the project alone,^[93][94] but in August 1970, after receiving a tape of Harrison's early mixes of the songs, Spector provided him with written feedback and guidance.^[27] Spector wrote of 'All Things Must Pass', 'This particular song is so good that any honest [vocal] performance by you is acceptable as far as I'm concerned',^[27] but he expressed his disapproval of the horns at the start of the track.^[74] In the words of authors Chip Madinger and Mark Easter, 'clearer heads prevailed' and Jim Price and Bobby Keys' horn parts were retained.^[74]

The recording opens with 'unvaryingly steady' piano chords, Inglis writes,^[21] and what Leng terms 'sensitive' string orchestration from John Barham,^[27] soon joined by the horns and Drake's pedal steel.^[32] Leng highlights this combination as providing the song with its rising and falling musical moods, implying variously light and darkness;^[27] Inglis writes of the musical arrangement mirroring the 'competing impressions' of hope and melancholy found in Harrison's lyrics.^[21] True to its Catskill roots, the recording evokes the Band's 'The Weight'^[74][95] and their eponymous second album,^[96] the tracks on which were similarly inspired by 'the beauty of that autumn in Woodstock', according to Helm.^{[97][nb 5]}

Release and album artwork[edit]

Almost two years after Harrison wrote the song, 'All Things Must Pass' was released in November 1970,^[48] closing side three of the triple album in its original LP format.^[99] Despite its high retail price, All Things Must Pass was a major commercial success,^[100][101] comfortably outselling concurrent solo releases by Lennon and McCartney.^{[94][102][nb 6]}

The song's title was invariably seen as a statement on the demise of the Beatles,^[21][104] as commentators viewed the album as Harrison's liberation from the artistic constraints imposed on him within the band.^[105][106] The album's cover image, showing Harrison seated on his Friar Park lawn surrounded by four reclining garden gnomes – thought to represent the Beatles – was also viewed as reflecting this theme.^[107] While commenting that 'All Things Must Pass' had 'accrue[d] new layers of relevance' during the album's creation, particularly with the death of Harrison's mother, former Mojo editor Paul Du Noyer writes: 'Nobody in November 1970 could have mistaken the title's significance ... As if to cement the association of ideas, the wry cover picture has George in solitary splendour, surrounded by a quartet of gnomes.'^[108] In a 2001 interview, photographer Barry Feinstein admitted that the words 'All Things Must Pass' had helped inspire his set-up for the photo, saying: 'What else could it be? ... [It] was over with The Beatles, right? And that title ... Very symbolic.'^[104]

Reception and legacy[edit]

On release, Ben Gerson of Rolling Stone described 'All Things Must Pass' as 'eloquently hopeful and resigned' while labelling the album 'the music of mountain tops and vast horizons'.^[109]Beatles Forever author Nicholas Schaffner noted in 1977, with reference to Harrison's commercial and critical dominance over his former bandmates following the break-up: 'The very fact that the Beatles had kept George's flowering talents so under wraps proved to be his secret weapon.'^[110] Schaffner named 'All Things Must Pass' and 'Beware of Darkness' as the two 'most eloquent' songs on All Things Must Pass, 'musically as well as lyrically', with 'mysterious, seductive melodies, over which faded strings and horns hover like Blue Jay Way fog'.^[111]

Writing for Rolling Stone in 2000, Anthony DeCurtis praised the song for its musical demonstration of 'the sweet satisfactions of faith'.^[106] On a triple album where 'nearly every song is excellent', AllMusic picks 'All Things Must Pass' as one of five standout tracks (or AMG track picks),^[112] with Richie Unterberger writing of its autumnal theme: 'It's the kind of song that fits the mood in November, when the trees are getting stripped bare of their leaves, the days are getting shorter and colder, and you have to resign yourself to knowing it's going to be tougher and tougher in those regards for months, also knowing that those hardships will pass away come springtime.'^[113] In his book on Harrison, subtitled A Spiritual Biography, Gary Tillery refers to the song as 'magisterial' and a 'majestic title track' that 'leaves even the shallowest listener contemplative'.^[114] Michael Gallucci of Ultimate Classic Rock places 'All Things Must Pass' third on his list of Harrison's best solo songs (behind the two hit singles from All Things Must Pass, 'My Sweet Lord' and 'What Is Life'), and comments: 'The album's title track takes on more poignancy after Harrison's death [in 2001], but it's always been great.'^[115] Writing for Rough Guides, Chris Ingham similarly describes the song as 'a heart-rending piece of significant prescience which seems to take on more poignancy with every passing year'.^[116]

Among Harrison's biographers, Simon Leng considers 'All Things Must Pass' a 'classic of Harrison's lyrical ambiguity, in essence a hopeful song, without sounding so', with a lyric that 'approaches Bob Dylan standard'.^[117] Ian Inglis also praises the lyrics, writing: 'The song contains some of Harrison's most insightful and pensive words. 'Daylight is good at arriving at the right time' is a fine example of his ... ability to position the profound within the commonplace.'^[21] Elliot Huntley rates it as one of Harrison's 'most beautiful' songs, 'if not the very best', and suggests that the sentiments behind 'All Things Must Pass' would have made it a 'fitting conclusion' to the final album recorded by the Beatles, Abbey Road (1969).^[80]

Bruce Spizer similarly rates 'All Things Must Pass' a highlight of Harrison's career,^[32] while Leng considers it 'perhaps the greatest solo Beatle composition' of all.^[2] In his book Revolution in the Head, Ian MacDonald describes 'All Things Must Pass' as 'the wisest song never recorded by The Beatles'.^[1] In 2009, The Guardian included the track in its list of '1000 Songs Everyone Must Hear'.^[118]

Performance and later releases[edit]

'All Things Must Pass' was not a track that Harrison ever played in concert,^[119] although it appeared on his preliminary setlist for the 1971 Concert for Bangladesh shows.^[120] He twice performed the song live in front of TV cameras during the final years of his life,^[121] beginning with his appearance with Ravi Shankar on VH1's Hard Rock Live, filmed in New York on 14 May 1997.^[122][123] The pair were on the show to promote their recent collaboration, Chants of India,^[123] but at host John Fugelsang's urging, Harrison accepted an acoustic guitar and performed a brief rendition of 'All Things Must Pass'.^{[124][125][nb 7]} In late 2000, Harrison sang 'All Things Must Pass' while again seated on a stool on Friar Park's main lawn, a performance that was included in the press kit for All Things Must Pass's 30th anniversary reissue early the following year.^{[127][128][nb 8]}

Coinciding with this 2001 reissue, the song appeared on a promotional single as the B-side to 'My Sweet Lord (2000)'.^[130][131] After being omitted from the 'cursory' selection of 1970–75 tracks on The Best of George Harrison (1976), Inglis writes, the song appeared on Harrison's 2009 career-spanning compilation Let It Roll.^[132]

In Martin Scorsese's 2011 documentary George Harrison: Living in the Material World, 'All Things Must Pass' is the first song featured in the movie, played over footage of German air raids over Britain during World War II.^[133][134] In November that year, a 1970-recorded demo of the song (featuring just Harrison, Starr and Voormann) appeared on the deluxe edition CD accompanying the British DVD release of the film;^[135][136] this CD was subsequently issued worldwide in May 2012 as Early Takes: Volume 1.^[137]

Cover versions[edit]

Steve Wood and Daniel May composed music to the 1998 documentary film Everest incorporating melodies from some of George Harrison's songs, one of which was 'All Things Must Pass'.^[138]At the Concert for George tribute to Harrison, held at London's Royal Albert Hall on 29 November 2002, Paul McCartney sang 'All Things Must Pass',^[2] backed by a large band that included Preston, Clapton, Voormann and Starr.^[139] Leng notes the irony in McCartney performing the song,^[2] while Beatles biographer Peter Doggett comments: 'it wasn't hard to imagine Harrison's cynicism as McCartney led the band into a soulful rendition of 'All Things Must Pass' – one of the songs that the other Beatles had refused to take seriously in January 1969.'^[140] According to Clapton, author Robert Rodriguez writes, McCartney 'was humbled at having to relearn it'.^[141]

Several other artists have recorded 'All Things Must Pass' in the years since Harrison's death. In 2003, Bobby Whitlock and his wife, CoCo Carmel, included the song on their acoustic live album Other Assorted Love Songs, Live from Whitney Chapel.^[142]Jazz guitarist Joel Harrison covered 'All Things Must Pass' on his album Harrison on Harrison: Jazz Explanations of George Harrison, released in October 2005.^[143] In 2007, a live version by the Waterboys appeared on their CD single 'Everybody Takes a Tumble',^[144] and the following year Sloan Wainwright included a cover of the song on her album Rediscovery.^[145]

'All Things Must Pass' was among the Harrison compositions covered by Jim James on his Tribute ToEP, recorded in December 2001 but not released until August 2009.^[146] Also in 2009, Klaus Voormann released a version of the song on his solo album A Sideman's Journey,^[147] with Yusuf Islam on vocals and acoustic guitar.^[148][149]

Personnel[edit]

The musicians who performed on Harrison's All Things Must Pass version of the song are believed to be as follows:^[27]

• George Harrison – vocals, acoustic guitar, backing vocals
• Eric Clapton – acoustic guitar, backing vocals
• Pete Drake – pedal steel
• Billy Preston – piano^[87]
• Bobby Whitlock – harmonium,^[84] backing vocals
• Klaus Voormann – bass
• Ringo Starr – drums, tambourine
• Jim Gordon – drums
• Bobby Keys – saxophone
• Jim Price – trumpet, trombone,^[87] horn arrangement
• John Barham – string arrangement

Notes[edit]

1. ^Harrison had already adapted a passage from the Tao Te Ching, a Chinese classic text, in his 1968 B-side for the Beatles, 'The Inner Light'.^[23] This had come at the suggestion of Cambridge academic Juan Mascaró, who had been moved by Harrison's lyrics to another of his Indian-inspired compositions, 'Within You Without You'.^[24]
2. ^By this point, Harrison had already released the largely instrumental soundtrack album Wonderwall Music, which was soon followed by Lennon and Ono's experimental work Two Virgins.^[58]
3. ^Alternatively, Harrison said in 1971 that American musician Gary Wright had 'played piano on the whole [All Things Must Pass] album'.^[85] Leng concedes the difficulty in ascertaining precise musicians' credits for each track and names Wright and Whitlock as the two 'core' keyboard players on the sessions.^[86]
4. ^Whitlock recalls that originally he had whistled a melody, which Spector recorded onto the basic track, and that this served as a guide for Drake's contribution.^[90]
5. ^Leng identifies the Band's minimalist tradition as a significant influence on other All Things Must Pass songs, particularly 'Run of the Mill' and 'Behind That Locked Door'.^[98]
6. ^As of 2011, it remained the most successful album by any of the former Beatles.^[103]
7. ^Although 150 minutes of Harrison and Shankar's appearance was filmed, VH1 originally aired only 22 minutes of footage, on 24 July, as George & Ravi – Yin & Yang.^[124] Omitted from the broadcast but also performed by Harrison was the Traveling Wilburys tune 'If You Belonged to Me' and 'Any Road', a track subsequently released on his posthumous album Brainwashed (2002).^[124][126]
8. ^On the day after Harrison's death was publicly announced, the quirky, Terry Gilliam-inspired graphics on Harrison's website, allthingsmustpass.com, were changed to show just a single gnome and the lyrics to 'All Things Must Pass'.^[129]

References[edit]

1. ^ ^abcdMacDonald, p. 302.
2. ^ ^abcdLeng, p. 310.
3. ^ ^abHarris, p. 66.
4. ^Clayson, p. 258.
5. ^ ^abLeng, pp. 51–53.
6. ^Leng, p. 317.
7. ^Olivia Harrison, p. 194.
8. ^George Harrison, pp. 57–58.
9. ^ ^abHelm, pp. 177–78.
10. ^Clayson, p. 242.
11. ^ ^abTimothy White, 'George Harrison – Reconsidered', Musician, November 1987, p. 62.
12. ^Miles, p. 313.
13. ^ ^abHuntley, p. 18.
14. ^George Harrison, p. 164.
15. ^Leng, pp. 39, 52.
16. ^ ^abGreene, p. 140.
17. ^Lavezzoli, p. 186.
18. ^ ^abGeorge Harrison, p. 184.
19. ^Timothy White, 'George Harrison: 'All Things' In Good Time', billboard.com, 8 January 2001 (retrieved 3 June 2014).
20. ^MacDonald, p. 448.
21. ^ ^abcdefghInglis, p. 30.
22. ^Allison, p. 135.
23. ^Tillery, p. 63.
24. ^Lavezzoli, pp. 182–83.
25. ^Leng, pp. 42, 96–97, 152, 205.
26. ^George Harrison, p. 186.
27. ^ ^abcdefghiLeng, p. 96.
28. ^Allison, pp. 37–38.
29. ^Allison, pp. 62, 135.
30. ^ ^abLeng, pp. 96–97.
31. ^Allison, p. 62.
32. ^ ^abcdefghSpizer, p. 225.
33. ^George Harrison, p. 185.
34. ^Sulpy & Schweighardt, p. 49.
35. ^George Harrison, pp. 185–86.
36. ^Harris, p. 68.
37. ^Doggett, p. 57.
38. ^Huntley, pp. 20–22.
39. ^John Harris, 'Into the Woods', Mojo, December 2003, p. 92.
40. ^Doggett, p. 58.
41. ^Miles, p. 327.
42. ^Sulpy & Schweighardt, pp. 5, 319.
43. ^Sulpy & Schweighardt, pp. 42, 44–45.
44. ^Sulpy & Schweighardt, pp. 120–21.
45. ^Miles, pp. 330, 331.
46. ^Sulpy & Schweighardt, pp. 6, 295.
47. ^Leng, p. 39.
48. ^ ^abThe Editors of Rolling Stone, pp. 38, 187.
49. ^Huntley, pp. 18–19, 21.
50. ^Miles, p. 328.
51. ^The Editors of Rolling Stone, p. 180.
52. ^Sulpy & Schweighardt, p. 1.
53. ^Sulpy & Schweighardt, p. 6.
54. ^Huntley, p. 21.
55. ^ ^abSulpy & Schweighardt, pp. 292–93.
56. ^ ^abHertsgaard, p. 283.
57. ^Spizer, p. 220.
58. ^Rodriguez, pp. 9–10.
59. ^Miles, p. 335.
60. ^Leng, p. 41.
61. ^Mark Lewisohn, liner notes in booklet accompanying the Beatles' Anthology 3 CD (Apple Records, 1996; produced by George Martin), p. 33.
62. ^Peter Doggett, 'Fight to the Finish', in Mojo: The Beatles' Final Years, p. 139.
63. ^Inglis, pp. 16, 161.
64. ^Clayson, pp. 280–81.
65. ^'Billy Preston Encouraging Words', Apple Records (retrieved 28 April 2012)
66. ^Miles, p. 331.
67. ^Huntley, pp. 25–27.
68. ^Kit O'Toole, 'Billy Preston Inspires Musically and Spiritually with 1970's Encouraging Words', Blogcritics, 30 July 2011 (retrieved 20 January 2015).
69. ^Madinger & Easter, p. 424.
70. ^Clayson, p. 263.
71. ^Lois Wilson, 'The Fifth Element', in Mojo: The Beatles' Final Years, p. 80.
72. ^Spizer, p. 340.
73. ^Leng, p. 71.
74. ^ ^abcdMadinger & Easter, p. 431.
75. ^Bruce Eder, 'Billy Preston Encouraging Words', AllMusic (retrieved 28 April 2012).
76. ^Castleman & Porazik, pp. 91–92.
77. ^Badman, p. 1.
78. ^Madinger & Easter, pp. 426–27.
79. ^Tillery, p. 87.
80. ^ ^abHuntley, p. 59.
81. ^Badman, p. 10.
82. ^Leng, pp. 69, 96.
83. ^Rodriguez, p. 77.
84. ^ ^abWhitlock, pp. 75, 81.
85. ^'George Harrison on The Dick Cavett Show, 1971, Full Interview' on YouTube (retrieved 24 September 2013); quoted portion appears at 0:36–41.
86. ^Leng, p. 82fn.
87. ^ ^abcWhitlock, p. 81.
88. ^Woffinden, pp. 36–37.
89. ^Huntley, pp. 56, 306.
90. ^Whitlock, pp. 80, 81.
91. ^Huntley, p. 52.
92. ^Harris, p. 72.
93. ^Clayson, p. 289.
94. ^ ^abJohn Bergstrom, 'George Harrison: All Things Must Pass', PopMatters, 14 January 2011 (retrieved 28 January 2015).
95. ^Clayson, p. 251.
96. ^Leng, pp. 53, 96.
97. ^Helm, p. 178.
98. ^Leng, pp. 89, 92, 94, 96, 102.
99. ^Castleman & Podrazik, p. 94.
100. ^Doggett, p. 148.
101. ^Madinger & Easter, p. 427.
102. ^Huntley, p. 63.
103. ^Tillery, p. 89.
104. ^ ^abHarris, p. 73.
105. ^Rodriguez, p. 147.
106. ^ ^abAnthony DeCurtis, ''George Harrison All Things Must Pass'. Archived from the original on 14 August 2006. Retrieved 14 August 2006.CS1 maint: BOT: original-url status unknown (link), Rolling Stone, 12 October 2000 (retrieved 28 April 2012).
107. ^The Editors of Rolling Stone, p. 40.
108. ^Paul Du Noyer, 'George Harrison's All Things Must Pass'Archived 18 January 2015 at the Wayback Machine, pauldunoyer.com, 13 March 2009 (retrieved 20 January 2015).
109. ^Ben Gerson, 'George Harrison All Things Must Pass', Rolling Stone, 21 January 1971 (retrieved 3 July 2012).
110. ^Schaffner, p. 140.
111. ^Schaffner, p. 142.
112. ^Richie Unterberger, 'George Harrison All Things Must Pass', AllMusic (retrieved 24 September 2013).
113. ^Richie Unterberger, 'George Harrison 'All Things Must Pass', AllMusic (retrieved 17 February 2015).
114. ^Tillery, pp. 88, 153.
115. ^Michael Gallucci, 'Top 10 George Harrison Songs', Ultimate Classic Rock (retrieved 28 March 2014).
116. ^Ingham, p. 133.
117. ^Leng, p. 97.
118. ^'George Harrison 'All Things Must Pass'Archived 10 November 2014 at the Wayback Machine, Acclaimed Music (retrieved 9 December 2014).
119. ^Madinger & Easter, pp. 436–37, 447, 473, 481, 485.
120. ^Olivia Harrison, p. 288.
121. ^Womack, pp. 24–25.
122. ^Badman, p. 568.
123. ^ ^abLavezzoli, p. 198.
124. ^ ^abcBadman, pp. 572–73.
125. ^Madinger & Easter, p. 488.
126. ^Leng, p. 282.
127. ^Electronic press kit, All Things Must Pass (30th Anniversary Edition), Gnome Records/EMI, 2001.
128. ^Womack, p. 25.
129. ^Chuck Miller, 'Collectormania!: Death and Silly Prices – All Things Must (and Will) Pass', Goldmine, 25 January 2002, p. 26.
130. ^Tim Neely, 'George Harrison Solo Discography (U.S.)', Goldmine, 25 January 2002, p. 19.
131. ^'George Harrison – My Sweet Lord (2000) / All Things Must Pass (vinyl)', Discogs (retrieved 6 October 2013).
132. ^Inglis, pp. 65, 128, 156.
133. ^George Harrison: Living in the Material World DVD (Village Roadshow, 2011; directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).
134. ^Chris Norris, 'George Harrison: Living in the Material World', Film Comment, October 2011 (retrieved 26 September 2013).
135. ^'George Harrison – All Things Must Pass (Living in the Material World Bonus Tracks) video', nme.com (retrieved 26 October 2013).
136. ^Steve Leggett, 'George Harrison: Living in the Material World (Video)', AllMusic (retrieved 23 April 2014).
137. ^Stephen Thomas Erlewine, 'George Harrison: Early Takes, Vol. 1', AllMusic (retrieved 15 September 2012).
138. ^Badman, pp. 588–89.
139. ^Concert for George DVD (Warner Strategic Marketing, 2003; directed by David Leland; produced by Ray Cooper, Olivia Harrison, Jon Kamen & Brian Roylance).
140. ^Doggett, p. 333.
141. ^Rodriguez, p. 148.
142. ^Bruce Eder, 'Bobby Whitlock & Kim Carmel Other Assorted Love Songs', AllMusic (retrieved 30 September 2013).
143. ^Matt Collar, 'Joel Harrison Harrison on Harrison: Jazz Explanations of George Harrison', AllMusic (retrieved 4 October 2013).
144. ^Amazon listing: 'Everybody Takes a Tumble (Single, Import), The Waterboys' (retrieved 29 April 2014).
145. ^'Rediscovery – Sloan Wainwright', Second Hand Songs (retrieved 22 September 2012).
146. ^Andrew Leahey, 'Yim Yames Tribute To', AllMusic (retrieved 20 August 2012).
147. ^'Klaus Voormann A Sideman's Journey', AllMusic (retrieved 1 October 2013).
148. ^'George Harrison Cover Songs'Archived 21 February 2017 at the Wayback Machine, The Covers Project (retrieved 22 September 2012).
149. ^News: 'Klaus joins Yusuf on songs for charity'Archived 29 September 2013 at the Wayback Machine, yusufislam.com, 13 January 2009 (retrieved 1 October 2013).

Sources[edit]

• Dale C. Allison Jr., The Love There That's Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN978-0-8264-1917-0).
• Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN0-7119-8307-0).
• Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN0-345-25680-8).
• Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN1-86074-489-3).
• Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ISBN978-0-06-177418-8).
• The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN0-7432-3581-9).
• Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN978-0-470-12780-3).
• John Harris, 'A Quiet Storm', Mojo, July 2001, pp. 66–74.
• George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ISBN0-8118-3793-9).
• Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ISBN978-1-4197-0220-4).
• Levon Helm (with Stephen Davis), This Wheel's on Fire: Levon Helm and the Story of The Band, A Cappella Books (Chicago, IL, 2000; ISBN978-1-55652-405-9).
• Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; ISBN0-330-33891-9).
• Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN1-55071-197-0).
• Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; ISBN978-1-84836-525-4).
• Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN978-0-313-37532-3).
• Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN0-8264-2819-3).
• Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN1-4234-0609-5).
• Ian MacDonald, Revolution in the Head: The Beatles' Records and the Sixties, Pimlico (London, 1998; ISBN0-7126-6697-4).
• Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN0-615-11724-4).
• Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ISBN0-7119-8308-9).
• Mojo: The Beatles' Final Years Special Edition, Emap (London, 2003).
• Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN978-1-4165-9093-4).
• Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN0-07-055087-5).
• Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN0-9662649-5-9).
• Doug Sulpy & Ray Schweighardt, Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster, St. Martin's Griffin (New York, 1997; ISBN0-312-19981-3).
• Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN978-0-8356-0900-5).
• Bobby Whitlock (with Marc Roberty), Bobby Whitlock: A Rock 'n' Roll Autobiography, McFarland (Jefferson, NC, 2010; ISBN978-0-7864-6190-5).
• Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN0-906071-89-5).
• Kenneth Womack, The Beatles Encyclopedia: Everything Fab Four, ABC-CLIO (Santa Barbara, CA, 2014; ISBN978-0-313-39171-2).

External links[edit]

• Lyrics of this song at MetroLyrics

All Things Must Pass is a triple album by English rock musician George Harrison. Recorded and released in 1970, it was Harrison's first solo work following the break-up of the Beatles in April that year, and his third solo album overall. 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 turned down 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 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 sound, the slide guitar, and the spiritual themes that would be present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams, titled Apple Jam. Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.

Production began at London's Abbey Road Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and Delaney & Bonnie's Friends band – three members of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, 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 1 on charts around the world. The album was co-produced by Phil Spector and employs 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, in March 2001, the Recording Industry Association of America certified the album six-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 433rd on the magazine's '500 Greatest Albums of All Time'. In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.

• 2Songs
• 4Production
• 7Critical reception
• 8Subsequent releases
• 9Track listing
• 11Accolades
• 12Charts

Background[edit]

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' 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 domination 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]

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]} At Abbey Road Studios 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] Although he began talking publicly about recording his own album from the autumn of 1969,^[38][39] it was only after McCartney announced that he was leaving the Beatles, in April 1970, signalling the band's break-up,^[40] that Harrison committed to the idea.^[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[edit]

Main body[edit]

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

Spector first heard Harrison's stockpile of unreleased compositions early in 1970, when visiting his recently purchased home, Friar Park.^[48] '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 on All Things Must Pass.^[51] Harrison wrote 'Let It Down' in late 1968 also.^[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] 'Run of the Mill' followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles^[61] amid the business problems surrounding their Apple organisation.^[62] Harrison's musical activities outside the band during 1969 inspired other compositions 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;^[63] 'Behind That Locked Door' was Harrison's message of encouragement to Dylan,^[64] written the night before the latter's comeback performance at the Isle of Wight Festival;^[65] and Harrison began 'My Sweet Lord' as an exercise in writing a gospel song^[66] during Delaney & Bonnie's stopover in Copenhagen in December 1969.^{[67][nb 4]}

'I Dig Love' resulted from Harrison's early experiments with slide guitar, a technique that Bramlett had introduced him to,^[66] in order to cover for guitarist Dave Mason's departure from the Friends line-up.^[70] 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;^[71][72] 'Ballad of Sir Frankie Crisp (Let It Roll)', a tribute to the original owner of Friar Park;^[73] and 'Beware of Darkness'.^[74] The latter was another composition influenced by Harrison's association with the Radha Krishna Temple,^[75] and was written while some of the devotees were staying with him at Friar Park.^[76]

Shortly before beginning work on All Things Must Pass, Harrison attended a Dylan session in New York on 1 May 1970,^[77] 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 compositions on the album,^[78] 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.^[72][79]

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.^[80] 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'.^[81] 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.^[82] The recurrent lyrical themes on the album are Harrison's spiritual quest, as it would be throughout his solo career,^[83] and friendship, particularly the failure of relationships among the Beatles.^[84][85] Rob Mitchum of Pitchfork Media describes the album as 'dark-tinged Krishna folk-rock'.^[86]

Apple Jam[edit]

On the original LP's third disc, entitled Apple Jam, four of the five tracks – 'Out of the Blue', 'Plug Me In', 'I Remember Jeep' and 'Thanks for the Pepperoni' – are improvised instrumentals built around minimal chord changes,^[87] or in the case of 'Out of the Blue', a single-chord riff.^[88] The title for 'I Remember Jeep' originated from the name of Clapton's dog, Jeep,^[89] and 'Thanks for the Pepperoni' came from a line on a Lenny Bruce comedy album.^[90] 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.'^{[91][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.^[93] Like all the 'free' tracks on the bonus disc,^[94] 'It's Johnny's Birthday' carried a Harrison songwriting credit on the original UK release of All Things Must Pass,^[95] 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.^[96] In December 1970, 'Congratulations' songwriters Bill Martin and Phil Coulter claimed for royalties,^[93] with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.^[89]

Demo tracks and outtakes[edit]

Aside from the seventeen compositions issued on discs one and two of the original album,^[97] 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.^[98][99] 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.'^{[100][nb 6]} As well as 'Wah-Wah', 'Art of Dying' and others that would soon be developed in a band setting, Harrison's solo performance for Spector included the following songs,^[101] all of which remain unreleased:^{[30][nb 7]}

• 'Window, Window' – another composition turned down by the Beatles in January 1969^[103]
• 'Everybody, Nobody' – the melody of which Harrison adapted for 'Ballad of Sir Frankie Crisp'^[101]
• 'Nowhere to Go' – a second Harrison–Dylan collaboration from November 1968, originally known as 'When Everybody Comes to Town'^[104]
• 'Cosmic Empire', 'Mother Divine' and 'Tell Me What Has Happened to You'.^[30][105]

Also from this performance were two tracks that Harrison returned to in later years.^[98] 'Beautiful Girl' appeared on his 1976 album Thirty Three & 1/3,^[30] and the Dylan-written 'I Don't Want to Do It' was Harrison's contribution to the soundtrack for Porky's Revenge! (1985).^[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'.^[106][107] Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed (and soon abandoned) solo album on Apple Records.^[108] After releasing his own versions of 'Try Some, Buy Some' and 'You' between 1973 and 1975,^[109] 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.^[110] 'Woman Don't You Cry for Me', written in December 1969 as his first slide-guitar composition,^[111] was another song that Harrison revisited on Thirty Three & 1/3.^[70] Harrison included 'I Live for You' as the only all-new bonus track on the 2001 reissue of All Things Must Pass.^[112] 'Down to the River' remained unused until he reworked it as 'Rocking Chair in Hawaii'^[113] for his final studio album, the posthumously released Brainwashed (2002).^[114]

Harrison recorded the following compositions during the All Things Must Pass sessions but they have never received an official release:^[107]

• 'Dehradun' – 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^[98]
• 'Gopala Krishna' – also known as 'Om Hare Om',^[107] with all-Sanskrit lyrics,^[115] and described by Simon Leng as a 'rocking companion' to 'Awaiting on You All'^[116]
• 'Going Down to Golders Green' – a Sun Records-era Presley parody based on the melody of 'Baby Let's Play House'.^[107]

Contributing musicians[edit]

The precise line-up of contributing musicians is open to conjecture.^[117][118] 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.^{[119][120][121]} 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,^[122] all of whom had recently toured with Delaney & Bonnie.^[123] Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr and Billy Preston, and German bassist Klaus Voormann,^[124] formerly of Manfred Mann and a friend since the Beatles' years in Hamburg.^[125] Handling much of the keyboard work with Whitlock was Gary Wright,^[117] who went on to collaborate regularly with Harrison throughout the 1970s.^[126]

– 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.^[127][128] Badfinger drummer Mike Gibbins' powerful tambourine work led to Spector giving him the nickname 'Mr Tambourine Man', after the Dylan song,^[59] while 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'.^[72] Orchestral arranger John Barham also sat in on the sessions, occasionally contributing on harmonium and vibraphone.^[129] Other guests included Nashville pedal steel player Pete Drake, Procol Harum's Gary Brooker and a pre-GenesisPhil Collins.^[130] An uncredited Peter Frampton played acoustic guitar on the country tracks featuring Drake.^[131]

For contractual reasons, on UK pressings of All Things Must Pass, Clapton's participation on the first two discs of the album remained unacknowledged for many years,^[120][132] although he was listed among the musicians appearing on the Apple Jam disc in Britain.^{[133][134][nb 8]} Harrison was unaware of Collins's contribution until putting together the 30th anniversary reissue of the album in 2000,^[140] at which point he offered Collins his belated thanks.^[141] Clapton's former bandmate in Cream and Blind Faith, Ginger Baker, participated in the session for 'I Remember Jeep' only, according to the album's sleeve notes.^[107]

Simon Leng consulted Voormann, Barham, Molland and Delaney Bramlett 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'.^{[142][nb 9]} Unsubstantiated claims exist regarding possible guest appearances from John Lennon,^[145]Maurice Gibb^[146] and Pink Floyd's Richard Wright.^[147][148] 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'.^[149]

Production[edit]

Initial recording[edit]

– Klaus Voormann, 2003

The date for Harrison's run-through of songs for Spector, at Abbey Road Studios, is generally thought to have been 20 May 1970, the same day as the Let It Be film's world premiere,^[151] with recording sessions beginning on 26 May.^{[30][99][152][nb 10]} With assistance from former Beatles engineers Ken Scott and Phil McDonald,^[127] Spector recorded most of the album's backing tracks live,^[154] in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.^[59][140]

According to authors Chip Madinger and Mark Easter, the majority of these backing tracks were taped on 8-track at Abbey Road, with the first batch of sessions taking place from late May through to the second week of June.^[155] The first song recorded was 'Wah-Wah';^[156] '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.^{[157][nb 11]} The Apple Jam instrumentals 'Thanks for the Pepperoni' and 'Plug Me In', featuring Harrison, Clapton and Mason each taking extended guitar solos,^[161] 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.^[162] Harrison also contributed on guitar to both sides of the band's debut single, 'Tell the Truth'^[163] and 'Roll It Over',^[164] which were produced by Spector and recorded at Apple on 18 June.^[162][165] The eleven-minute 'Out of the Blue' featured contributions from Keys and Price,^[166] both of whom began working with the Rolling Stones around this time.^[167]

Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,^[168][169] recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October.^[162][170] 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.^[171][172] Participants at the recording sessions identify Spector's erratic behaviour as another factor affecting progress on the album.^{[59][162][173]} 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][172] In July 1970, by which time sessions had resumed at Trident Studios,^[98] Spector fell over in the studio and broke his arm.^[150] Early that month, work on All Things Must Pass was temporarily brought to a halt as Harrison headed north to see his dying mother for the last time.^{[174][nb 12]}EMI's growing concerns regarding studio costs added to the pressure on Harrison,^[150] and a further complication, John Harris notes, 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 13]}

Overdubbing[edit]

In Spector's absence, Harrison had completed the album's backing tracks and preliminary overdubs by 12 August.^[162] He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles,^[127] and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing.^[162] Among Spector's comments were detailed suggestions regarding 'Let It Down',^[61] the released recording of which Madinger and Easter describe as 'the best example of Spector running rampant with the 'Wall of Sound', and an urging that he and Harrison carry out further work on the songs at the superior, 16-track Trident Studios facility.^[179] Spector then returned to oversee conversion of the 8-track recordings to 16-track masters,^[172] a process that allowed for more freedom when overdubbing new instruments.^[127]

John Barham's orchestrations were recorded during the next phase of the album's production,^[156] 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').^[180] Leng recognises Barham's arrangements on 'pivotal' songs such as 'Isn't It a Pity', 'My Sweet Lord', 'Beware of Darkness' and 'All Things Must Pass' as important elements of the album's sound,^[116] while Spector has praised Harrison's guitar and vocal work on the overdubs, saying: 'Perfectionist is not the right word. Anyone can be a perfectionist. He was beyond that ...'^[48] Harrison's style of slide guitar playing incorporated aspects of both Indian music and the blues tradition;^[53] 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'.^[181]

Mixing and mastering[edit]

– George Harrison, January 2001

On 9 October, while carrying out final mixing at Abbey Road, Harrison presented Lennon with the recently recorded 'It's Johnny's Birthday'.^{[182][nb 14]} The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.^[93] 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.^[184] 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.^{[185][nb 15]}

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.^[127] 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 with the passage of time.^{[187][188][189]} Outtakes from the recording sessions became available on bootlegs in the 1990s.^[190] One such unofficial release, the three-disc The Making of All Things Must Pass,^[191] 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.^[156]

Artwork[edit]

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.^[89] Apple insider Tony Bramwell later recalled: 'It was a bloody big thing ... You needed arms like an orang-utan to carry half a dozen.'^[135] The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works.^[135]

The stark black-and-white cover photo was taken on the main lawn at Friar Park^[72] by Wilkes' Camouflage Productions partner, Barry Feinstein.^[89] 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.^[192][193] The gnomes had recently been delivered to Friar Park and placed on the lawn;^[194] seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.^[135] 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;^[171] Harrison biographer Elliot Huntley attributes this reaction to envy on Lennon's part during a time when 'everything [Harrison] touched turned to gold'.^{[195][nb 16]}

Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window.^[199] Wilkes had designed a more adventurous poster, but according to Beatles author Bruce Spizer, Harrison was uncomfortable with the imagery.^{[200][nb 17]} 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'.^[89]

Release[edit]

– George Harrison, January 1971

EMI and its US counterpart, Capitol Records, had originally scheduled the album for release in October 1970, and advance promotion began in September.^[162] 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'.^[201] Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road,^[202][203] as well as the speculation caused by his and Dylan's joint recording session in New York.^[204] 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.'^[202]

All Things Must Pass was released on 27 November 1970 in the United States, and on 30 November in Britain,^[198] with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries.^[94] Often credited as rock's first triple album,^[171] 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.^[172] Adding to the commercial appeal of Harrison's songs, Clayson writes, All Things Must Pass appeared at a time when religion and spirituality had become 'a turn-of-the-decade craze' among Western youth, just as the Twist had been in 1960.^[205] Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York,^[198] the failure of which led to McCartney filing suit in London's High Court to dissolve the Beatles' legal partnership.^[206]

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.^[207] It was highly successful,^[203] topping singles charts around the world during the first few months of 1971.^[72] It was the first solo single by a former Beatle to be number 1 in the UK or the US,^[208] and became the most performed song of that year.^{[209][nb 18]} 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'.^[171] Issued in February 1971, the second single, 'What Is Life' backed with 'Apple Scruffs',^[211] was also successful.^[212]

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.^{[213][nb 19]} 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.^[214] 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;^[215] for three of those weeks, 'My Sweet Lord' held the top spot on the Billboard Hot 100.^[216] Writing in the April 2001 issue of Record Collector, managing editor 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'.^[217] 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.^{[218][nb 20]} 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.^[220][221]

All Things Must Pass was awarded a gold disc by the Recording Industry Association of America on 17 December 1970^[222] and it has since been certified six times platinum.^[215][223] 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.^[224] Also writing in 2011, Lennon and Harrison biographer Gary Tillery describes it as 'the most successful album ever released by an ex-Beatle'.^[225] 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.^[226]

Critical reception[edit]

Contemporary reviews[edit]

All Things Must Pass received almost universal critical acclaim on release^[227] – 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][188][228]} Beatles author Robert Rodriguez has written of critics' attention being centred on 'a major talent unleashed, one who'd been hidden in plain sight all those years' behind Lennon and McCartney.^[229] '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.'^[229] 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,^[87][133] although Anthony DeCurtis recognises Apple Jam as further evidence of the album's 'bracing air of creative liberation'.^[230]

Ben Gerson of Rolling Stone deemed All Things Must Pass 'both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty' and referenced the three-record set as an 'extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the War and Peace of rock and roll'.^[2] Gerson also lauded the album's production as being 'of classic Spectorian proportions, Wagnerian, Brucknerian, the music of mountain tops and vast horizons'.^[2] 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.'^[95]Billboard magazine hailed All Things Must Pass as 'a masterful blend of rock and piety, technical brilliance and mystic mood, and relief from the tedium of everyday rock'.^[231]

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'.^{[228][nb 21]}William Bender of Time magazine described it as an 'expressive, classically executed personal statement ... one of the outstanding rock albums in years', while Don Heckman wrote in The New York Times: 'If anyone had any doubts that George Harrison was a major talent, they can relax ... This is a release that shouldn't be missed.'^[234]

Retrospective reviews and legacy[edit]

An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade.^[132]Village Voice critic Robert Christgau, having bemoaned in 1971 that it was characterised by 'overblown fatuity' and uninteresting music,^[242] 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'.^[236] 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'.^[133] Writing in The Beatles Forever in 1977, however, Nicholas Schaffner praised the album as the 'crowning glory' of Harrison and Spector's careers, and highlighted 'All Things Must Pass' and 'Beware of Darkness' as the 'two most eloquent songs ... musically as well as lyrically'.^[243]

AllMusic's Richie Unterberger views All Things Must Pass as '[Harrison's] best ... a very moving work',^[46] while 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'.^[238]Q magazine considers it to be an exemplary fusion of 'rock and religion', as well as 'the single most satisfying collection of any solo Beatle'.^[240] 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.'^[244] 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'.^[245] In his July 2001 feature for Mojo, John Harris called it 'the inaugural solo album that still stands as the best Beatles solo record',^[5] while earlier that year the magazine's album review read in part: 'This remains the best Beatles solo album ... oozing both the goggle-eyed joy of creative emancipation and the sense of someone pushing himself to the limit ...'^[246]

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

In his PopMatters review, John Bergstrom likens All Things Must Pass to 'the sound of Harrison exhaling', noting: 'He was quite possibly the only Beatle who was completely satisfied with the Beatles being gone.'^[224] 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.^[224] 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.'^[248] 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'.^[249] 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 Media in 2016, Jayson Green said that Harrison was the only former Beatle who 'changed the terms of what an album could be' since, although All Things Must Pass was not the first rock triple LP, 'in the cultural imagination, it is the first triple album, the first one released as a pointed statement.'^[239]

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.^[250] 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.^[251] 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'.^[251]

All Things Must Pass features in music reference books such as The Mojo Collection: The Greatest Albums of All Time,^[252] Robert Dimery's 1001 Albums You Must Hear Before You Die^[253] and Tom Moon's 1,000 Recordings to Hear Before You Die.^[254] 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.^[255] In 2006, Pitchfork Media placed it at number 82 on the site's 'Top 100 Albums of the 1970s'.^[86] Six years later, it was voted 433rd on Rolling Stone magazine's list of the '500 Greatest Albums of All Time'.^[256] According to the website Acclaimed Music, All Things Must Pass has also appeared in the following critics' best-album books and lists, among others: Paul Gambaccini's The World Critics Best Albums of All Time (1977; 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).^[253] In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame,^[257] an award bestowed by the Recording Academy 'to honor recordings of lasting qualitative or historical significance that are at least 25 years old'.^[258]

Subsequent releases[edit]

2001[edit]

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.^{[259][nb 22]} The reissue appeared on Gnome Records, a label specifically set up by him for the project.^[261] Harrison oversaw revisions to Wilkes and Feinstein's album artwork,^[141] which included a colourised 'George & the Gnomes' front cover^[141] 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.^{[92][nb 23]} 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'.^{[262][nb 24]} 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'.^[264] As a further example of his willingness to embrace modern media,^[265] 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'.^[266]

Titled All Things Must Pass: 30th Anniversary Edition, the new album contained five bonus tracks, including 'I Live For You',^[267] two of the songs performed for Spector at Abbey Road 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.^[268] In addition, Harrison resequenced the content of Apple Jam so that the album closed with 'Out of the Blue', as he had originally intended.^[91][141] Assisting Harrison with overdubs on the bonus tracks were his son, Dhani Harrison, singer Sam Brown and percussionist Ray Cooper,^[91] all of whom contributed to the recording of Brainwashed around this time.^[269]

With Harrison undertaking extensive promotional work, the 2001 reissue was a critical and commercial success.^[270] Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America.^[271] There, the reissue debuted at number 4 on Billboard's Top Pop Catalog Albums chart^[272] and topped the magazine's Internet Album Sales listings.^[273] In the UK, it peaked at number 68 on the national albums chart.^[274] Writing in Record Collector, Doggett described this success as 'a previously unheard-of achievement for a reissue'.^[275]

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.^[276] With the release on iTunes of much of the Harrison catalogue, in October 2007,^[277] the album re-entered the US Top Pop Catalog chart, peaking at number 3.^[278]

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.^[279][280] Each copy was individually numbered.^[281][282] In what Bergstrom notes as a contrast to the more aggressive marketing campaign run simultaneously by John Lennon's estate, to commemorate Lennon's 70th birthday,^[224] a digitally remastered 24-bit version of the album was made available for download from Harrison's official website.^[279][280] The reissue coincided with the Harrison estate's similarly low-key^[283] release of the Ravi Shankar–George Harrison box set Collaborations^[284] 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.^[285][286]

2014[edit]

All Things Must Pass was remastered again for the eight-disc Harrison box set The Apple Years 1968–75,^[287] issued in September 2014.^[288] Also available as a separate, double CD release, the reissue reproduces Harrison's 2001 liner notes^[289] and includes the same five bonus tracks that appeared on the 30th anniversary edition.^[287] In addition, the box set's DVD contains the promotional film created for the 2001 reissue.^[290]

Track listing[edit]

All songs written by George Harrison, except where noted.

Original release[edit]

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

All Things Must Pass Movie

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[edit]

Disc one

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

10. 'I Live for You' – 3:35
11. 'Beware of Darkness' (acoustic demo) – 3:19
12. 'Let It Down' (alternate version) – 3:54
13. 'What Is Life' (backing track/alternate mix) – 4:27
14. '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, for which all participants are believed to now be credited as composers also.^{[nb 25]}

10. 'It's Johnny's Birthday' (Martin, Coulter; new lyrics by Mal Evans, Harrison, Eddie Klein) – 0:49
11. 'Plug Me In' (Eric Clapton, Jim Gordon, Harrison, Dave Mason, Carl Radle, Bobby Whitlock) – 3:18
12. 'I Remember Jeep' (Ginger Baker, Clapton, Harrison, Billy Preston, Klaus Voormann) – 8:07
13. 'Thanks for the Pepperoni' (Clapton, Gordon, Harrison, Mason, Radle, Whitlock) – 5:31
14. 'Out of the Blue' (Al Aronowitz, Clapton, Gordon, Harrison, Bobby Keys, Jim Price, Radle, Whitlock, Gary Wright) – 11:16

Personnel[edit]

The following musicians are either credited on the 2001 reissue of All Things Must Pass^[291] or are acknowledged as having contributed after subsequent research:^[294]

• 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,^[295] backing vocals
• Klaus Voormann – bass guitar, electric guitar^{[nb 26]}
• Jim Gordon – drums
• Carl Radle – bass guitar
• Ringo Starr – drums, percussion
• Billy Preston – organ, piano
• Jim Price – trumpet, trombone, hornarrangements
• Bobby Keys – saxophones
• Alan White – drums, vibraphone
• Pete Drake – pedal steel
• John Barham – orchestral arrangements, choral arrangement, harmonium, vibraphone
• Pete Ham – acoustic guitar
• Tom Evans – acoustic guitar
• Joey Molland – acoustic guitar
• Mike Gibbins – percussion
• Peter Frampton – acoustic guitar^[131]
• Dave Mason – electric and acoustic guitars
• Tony Ashton – piano
• Gary Brooker – piano
• Mal Evans – percussion, backing vocals, 'tea and sympathy'
• Ginger Baker – drums
• Al Aronowitz – unspecified
• Eddie Klein – backing vocals
• 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[edit]

Grammy Awards[edit]

Charts[edit]

Weekly charts[edit]

Year-end charts[edit]

Certifications[edit]

Notes[edit]

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 writers and critics such as John Harris,^[5]David Fricke,^[43]Richie Unterberger^[46] and Harry Shapiro.^[47]
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,^[68] who released the songs on his Encouraging Words album in September 1970, two months before Harrison's versions appeared.^[69]
5. ^The 'separate label' was a face label that appeared on each side of disc three, containing a jam jar painted by designer Tom Wilkes to show a piece of fruit inside the jar and two apple leaves on the outside.^[92] To complete the literal pun on the words 'apple jam', Wilkes painted the title of the bonus disc on the jar's lid.^[92]
6. ^In other interviews, Harrison similarly likened his situation to being 'constipated for years' artistically while in the Beatles.^[97]
7. ^Fifteen of these tracks are available unofficially on the Beware of ABKCO!bootleg.^[101][102]
8. ^For similar reasons regarding record companies being 'possessive'^[135] of their artists,^[136] the musician credits on Cream's Goodbye album (1969),^[137] Jack Bruce's Songs for a Tailor (1969) and Delaney & Bonnie's On Tour (1970)^[138] could only list Harrison under a pseudonym, 'L'Angelo Misterioso'.^[139]
9. ^Like Barham, Tony Ashton had been a significant contributor to Harrison's Wonderwall Music album.^[143] 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.^[144]
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.^[140][153]
11. ^Drake also played on the bootlegged instrumental 'Pete Drake and His Amazing Talking Guitar',^[158] before returning to Nashville to gather material for Starr's country album, Beaucoups of Blues (1970),^[159] sessions for which began in the last week of June.^[160]
12. ^This personal tragedy was the inspiration for a new Harrison composition, the 1971 B-side 'Deep Blue'.^[175][176]
13. ^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).^[136] After Boyd rejected him in November 1970, Clapton descended into full-blown heroin addiction,^[177] which led to the break-up of the band in early 1971 and the sidelining of his career until 1974.^[178]
14. ^Session tapes reveal that Lennon was recording his song 'Remember' in one of the other studios there when Harrison arrived.^[183]
15. ^The albums were released, respectively, as Bobby Whitlock (1972), Footprint (1971), Straight Up (1971) and Bobby Keys (1972).^[186]
16. ^According to Harrison's recollection in a 1977 interview for Crawdaddy magazine,^[171] 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.^[196] Later, in what author Alan Clayson views as a case of 'needling Paul rather than praising George',^[197] Lennon told Rolling Stone editor Jann Wenner that he 'preferred' All Things Must Pass to the 'rubbish' on McCartney's eponymous solo album, released in April 1970.^[198]
17. ^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.^[89]
18. ^Aside from the popularity of Harrison's recording, the song attracted a large number of cover versions in 1971.^[209] 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'.^[210]
19. ^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.^[213] 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.^[213]
20. ^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.^[218][219]
21. ^Aside from non-vocal albums such as Harrison's Wonderwall Music and Electronic Sound, and Lennon's experimental work with Yoko Ono, beginning with Two Virgins (1968),^[232] 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 (1970).^[233]
22. ^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.^[260]
23. ^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.^[92] The revised artwork for All Things Must Pass was credited to WhereforeArt?^[92]
24. ^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.^[263]
25. ^The 2001 album booklet lists the musicians on these tracks straight after the song titles although publishing rights for all bar 'It's Johnny's Birthday' are with Harrisongs only.^[291] Inglis gives composers' credit to all the participants,^[292] while Leng acknowledges Harrison alone.^[293]
26. ^In Leng's book, Voormann claims it was him playing lead guitar with Harrison on 'Out of the Blue' and not Clapton, as credited by Harrison on the Apple Jam sleeve: '[George] thought it was Eric, because I was playing a little thing like Eric.'^[296]

References[edit]

1. ^Moon, p. 346.
2. ^ ^abcBen Gerson, 'George Harrison All Things Must Pass', Rolling Stone, 21 January 1971, p. 46 (retrieved 5 June 2013).
3. ^ ^abcSchaffner, p. 140.
4. ^Larkin, p. 2635.
5. ^ ^abcdeHarris, p. 68.
6. ^George Harrison, p. 164.
7. ^Leng, pp. 39, 51–52.
8. ^Tillery, p. 86.
9. ^Leng, p. 39.
10. ^George Harrison, pp. 55, 57–58.
11. ^Lavezzoli, pp. 176, 177, 184–85.
12. ^Leng, pp. 39, 53–54.
13. ^'Artist: Cream', Official Charts Company (retrieved 16 January 2013).
14. ^Sulpy & Schweighardt, pp. 1, 85, 124.
15. ^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.
16. ^Leng, pp. 39, 55.
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33. ^Miles, p. 335.
34. ^The Editors of Rolling Stone, p. 38.
35. ^Huntley, p. 19.
36. ^Clayson, p. 285.
37. ^Lavezzoli, p. 185.
38. ^Tillery, p. 87.
39. ^Clayson, p. 284.
40. ^Hertsgaard, p. 277.
41. ^O'Dell, pp. 155–56.
42. ^Huntley, pp. 30–31.
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44. ^Leng, p. 82.
45. ^Greene, pp. 179, 221.
46. ^ ^abcdRichie Unterberger, 'George Harrison All Things Must Pass', AllMusic (retrieved 28 April 2012).
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48. ^ ^abcdOlivia Harrison, p. 282.
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50. ^Leng, p. 52.
51. ^Madinger & Easter, p. 423.
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54. ^ ^abcThe Editors of Rolling Stone, p. 187.
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56. ^The Editors of Rolling Stone, pp. 38, 187.
57. ^Sulpy & Schweighardt, p. 269.
58. ^MacDonald, p. 302fn.
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60. ^Leng, p. 85.
61. ^ ^abLeng, p. 91.
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63. ^'Billy Preston Encouraging Words', Apple Records (retrieved 19 January 2013).
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66. ^ ^abHarris, p. 70.
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91. ^ ^abcTimothy White, 'George Harrison: 'All Things' In Good Time', billboard.com, 8 January 2001 (retrieved 3 June 2014).
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94. ^ ^abCastleman & Podrazik, p. 94.
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189. ^ ^abJohn Harris, 'Beware of Darkness', Mojo, November 2011, p. 82.
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226. ^Champ, pp. 150–51.
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230. ^ ^abAnthony DeCurtis, 'George Harrison All Things Must Pass', Rolling Stone, 12 October 2000 (archived version retrieved 1 April 2012).
231. ^'Album Reviews', Billboard, 19 December 1970, p. 50 (retrieved 28 November 2012).
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234. ^Frontani, p. 158, note 19 (p. 266).
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236. ^ ^abChristgau, p. 171.
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238. ^ ^abGraff & Durchholz, p. 529.
239. ^ ^abJayson Greene, 'George Harrison: All Things Must Pass', Pitchfork, 19 June 2016 (retrieved 3 July 2016).
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242. ^Robert Christgau, 'Living Without the Beatles', robertchristgau.com (retrieved 8 February 2014).
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245. ^The Editors of Rolling Stone, p. 42.
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247. ^Moon, p. 345.
248. ^James Hunter, 'George Harrison All Things Must Pass 30th Anniversary reissue', Rolling Stone, 29 March 2001; quoted in The Super Seventies 'Classic 500', 'George Harrison – All Things Must Pass' (retrieved 4 June 2014).
249. ^Brackett & Hoard, p. 367.
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254. ^Moon, pp. 345–46.
255. ^Tom Cox, 'The alternative top 10', The Guardian, 29 January 1999 (retrieved 17 August 2012).
256. ^'500 Greatest Albums of All Time: George Harrison, 'All Things Must Pass', Rolling Stone (retrieved 12 June 2012).
257. ^Kyle McGovern, 'Grammy Hall of Fame 2014 Inductees: U2, Neil Young, Run-D.M.C., Rolling Stones, and More', Spin, 3 December 2013 (retrieved 3 March 2015).
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262. ^Tillery, p. 147.
263. ^Huntley, pp. 309–10.
264. ^Chuck Miller, 'Collectormania!: Death and Silly Prices – All Things Must (and Will) Pass', Goldmine, 25 January 2002, p. 26.
265. ^Huntley, pp. 308–09.
266. ^Graham Reid, 'George Harrison Revisited, Part One (2014): The dark horse bolting out of the gate', Elsewhere, 24 October 2014 (retrieved 2 March 2016).
267. ^Ingham, p. 133.
268. ^Leng, pp. 284–85.
269. ^Leng, pp. 299, 304.
270. ^Huntley, pp. 307–08.
271. ^Huntley, p. 307.
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273. ^ ^ab'All Things Must Pass' > Charts & Awards > Billboard Albums, AllMusic (retrieved 11 February 2013).
274. ^ ^abc'Artist: George Harrison' > Albums > 'All Things Must Pass: Chart Facts', Official Charts Company (retrieved 3 March 2016).
275. ^Peter Doggett, 'Editorial: The Virtues of Vinyl?', Record Collector, April 2001, p. 2.
276. ^'Billboard charts', Billboard, 26 January 2002, p. 66 (retrieved 11 February 2013).
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279. ^ ^abMike Duquette, 'All Things Come to Pass', theseconddisc.com, 19 October 2010 (retrieved 16 November 2014).
280. ^ ^ab'George Harrison 40th Anniv 'All Things Must Pass' 3 LP Collection', Glide Magazine, 4 November 2010 (retrieved 7 December 2015).
281. ^Daniel Kreps, 'George Harrison's 'All Things Must Pass' to Be Reissued', rollingstone.com, 20 October 2010 (retrieved 22 November 2014).
282. ^Emily Costantino, 'In the News: Robert Pollard, The Pains of Being Pure at Heart, Massive Attack, Smashing Pumpkins, George Harrison, INXS, Bad Religion and more', Magnet, October 2010 (retrieved 16 November 2014).
283. ^Joe Marchese, 'Review: Ravi Shankar and George Harrison, 'Collaborations', theseconddisc.com, 8 November 2010 (retrieved 10 March 2015).
284. ^Sophie Harris, Jay Ruttenberg & Mikael Wood, 'Even though the Beatles are finally on iTunes, you'll want these groovy sets', Time Out New York, 22 November 2010 (retrieved 10 March 2015).
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286. ^Jeff Kaliss, 'Ravi Shankar Raga: A Film Journey into the Soul of India', Songlines, 26 November 2010, p. 85 (archived version retrieved 10 March 2015).
287. ^ ^abKory Grow, 'George Harrison's First Six Studio Albums to Get Lavish Reissues', rollingstone.com, 2 September 2014 (retrieved 4 October 2014).
288. ^Hal Horowitz, 'George Harrison: The Apple Years, 1968–75', American Songwriter, 23 September 2014 (retrieved 4 October 2014).
289. ^Joe Marchese, 'Review: The George Harrison Remasters – 'The Apple Years 1968–1975', theseconddisc.com, 23 September 2014 (retrieved 4 October 2014).
290. ^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).
291. ^ ^abBooklet accompanying All Things Must Pass reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).
292. ^Inglis, p. 147.
293. ^Leng, pp. 99–101.
294. ^Leng, pp. 78, 82–102.
295. ^Whitlock, pp. 75–76, 79–82.
296. ^Leng, p. 102fn.
297. ^'Go-Set Australian charts – 3 April 1971', poparchives.com.au (retrieved 22 February 2017).
298. ^ ^abDavid Kent, Australian Chart Book 1970–1992, Australian Chart Book (St Ives, NSW, 1993).
299. ^'RPM 100 Albums, 26 December 1970'Archived 22 June 2013 at the Wayback Machine, Library and Archives Canada (retrieved 2 March 2016).
300. ^'George Harrison – All Things Must Pass', dutchcharts.nl (retrieved 12 September 2011).
301. ^ ^ab'Hit Parade Italia – Gli album più venduti del 1971', hitparadeitalia.it (retrieved 3 October 2011).
302. ^ ^ab'George Harrison: Chart Action (Japan)'Archived 3 February 2009 at the Wayback Machine, homepage1.nifty.com (retrieved 11 February 2013).
303. ^'George Harrison – All Things Must Pass', norwegiancharts.com (retrieved 12 September 2011).
304. ^Fernando Salaverri, Sólo éxitos: Año a año, 1959–2002, Fundación Autor-SGAE (Spain, 2005; ISBN84-8048-639-2).
305. ^'Swedish Charts 1969–1972/Kvällstoppen – Listresultaten vecka för vecka' > Februari 1971 > 9 Februari (in Swedish), hitsallertijden.nl (retrieved 13 February 2013). Note: Kvällstoppen combined sales for albums and singles in the one chart; All Things Must Pass topped the albums listings for six weeks from 2 February to 9 March 1971.
306. ^'Cash Box Top 100 Albums', Cash Box, 9 January 1971, p. 21.
307. ^Frank Mitchell (ed.), 'The Album Chart', Record World, 16 January 1971, p. 30.
308. ^'Album – George Harrison, All Things Must Pass', charts.de (retrieved 11 February 2013).
309. ^'Tous les Albums classés par Artiste' > Choisir un Artiste dans la Liste (in French), infodisc.fr (archive version retrieved 13 February 2013).
310. ^'Jaaroverzichten – Album 1971', dutchcharts.nl (retrieved 10 March 2015).
311. ^'Billboard 1970's Album Top 50 (Part 1)' > 1971, 7 December 2007 (retrieved 13 February 2013).
312. ^'Canadian album certifications – George Harrison – All Things Must Pass'. Music Canada.
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314. ^'American album certifications – George Harrison – All Things Must Pass'. Recording Industry Association of America.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.

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External links[edit]

• All Things Must Pass^{[permanent dead link]} (Adobe Flash) at Radio3Net (streamed copy where licensed)
• All Things Must Pass at Discogs (list of releases)