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Disc One: |
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I'd Have You Anytime
Date Performance: 1970, Running Time: 2:57 |
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My Sweet Lord
Date Performance: 1970, Running Time: 4:37 |
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Wah-Wah
Date Performance: 1970, Running Time: 5:35 |
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Isn't It A Pity
Date Performance: 1970, Running Time: 7:08
Comments: (Version One) |
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What Is Life
Date Performance: 1970, Running Time: 4:22 |
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If Not For You
Date Performance: 1970, Running Time: 3:29 |
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Behind That Locked Door
Date Performance: 1970, Running Time: 3:05 |
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Let It Down
Date Performance: 1970, Running Time: 4:57 |
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Run Of The Mill
Date Performance: 1970, Running Time: 2:51 |
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Beware Of Darkness
Date Performance: 1970, Running Time: 3:48 |
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Apple Scruffs
Date Performance: 1970, Running Time: 3:04 |
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Ballad Of Sir Frankie Crisp (Let It Roll)
Date Performance: 1970, Running Time: 3:46 |
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Awaiting On You All
Date Performance: 1970, Running Time: 2:45 |
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All Things Must Pass
Date Performance: 1970, Running Time: 3:44 | |
Disc Two: |
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I Dig Love
Date Performance: 1970, Running Time: 4:54 |
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Art Of Dying
Date Performance: 1970, Running Time: 3:37 |
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Isn't It A Pity
Date Performance: 1970, Running Time: 4:45
Comments: (Version Two) |
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Hear Me Lord
Date Performance: 1970, Running Time: 5:48 |
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Out Of The Blue
Date Performance: 1970, Running Time: 11:13
Comments: Al Aronowitz is listed as appearing on this track but the liner notes do not clearly indicate what he's specifically doing on this track. |
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It's Johnny's Birthday
Date Performance: 1970, Running Time: 0:49
Comments: (Based upon 'Congratulations' by Martin and Coulter) |
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Plug Me In
Date Performance: 1970, Running Time: 3:18 |
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I Remember Jeep
Date Performance: 1970, Running Time: 8:05 |
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Thanks For The Pepperoni
Date Performance: 1970, Running Time: 5:32 | |
Disc One Of 2001 Reissue: |
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I'd Have You Anytime
Date Performance: 1970, Running Time: 2:57 |
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My Sweet Lord
Date Performance: 1970, Running Time: 4:37 |
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Wah-Wah
Date Performance: 1970, Running Time: 5:35 |
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Isn't It A Pity
Date Performance: 1970, Running Time: 7:08
Comments: (Version One) |
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What Is Life
Date Performance: 1970, Running Time: 4:22 |
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If Not For You
Date Performance: 1970, Running Time: 3:29 |
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Behind That Locked Door
Date Performance: 1970, Running Time: 3:05 |
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Let It Down
Date Performance: 1970, Running Time: 4:57 |
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Run Of The Mill
Date Performance: 1970, Running Time: 2:51 |
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I Live For You
Date Performance: 1970, Running Time: 3:36
Comments: George Harrison: An out-take from the original session but not used on the album, probably because, at the time, I didn't feel we had a good enough take - apart from Pete Drake, who played a nice pedal steel part. We fiddled around with the drum track and hopefully improved it. |
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Beware Of Darkness
Date Performance: 1970-05-27, Running Time: 5:20
Comments: George Harrison: Recorded in Abbey Road Studios. I went through my songs for the benefit of Phil Spector as he was going to co-produce the album. At that time I was unaware they were being recorded. This song was written just the week before and was still missing a few lyrics. |
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Let It Down
Running Time: 3:55
Comments: George Harrison: The original guitar and vocal from the same tape with a little overdubbing circa 2000 - 'Let your 'hur' hang all around me.' |
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What Is Life
Date Performance: 1970-08-09, Running Time: 4:22
Comments: George Harrison: Backing track. This is a rough mix from Trident Studio in London. It had parts for piccolo trumpet and oboe that weren't used originally because I didn't like the feel. It sounds a bit of a novelty now and I'd forgotten about its existence. |
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My Sweet Lord
Date Performance: 2000, Running Time: 4:58
Comments: George Harrison: To create something extra for the Anniversary issue, I decided to have a new look at 'My Sweet Lord' and change it from the original version. Sam Brown sings lead and backing vocals with me, and most of the other instruments have been replaced. | |
Disc Two Of 2001 Reissue: |
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Beware Of Darkness
Date Performance: 1970, Running Time: 3:48 |
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Apple Scruffs
Date Performance: 1970, Running Time: 3:04 |
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Ballad Of Sir Frankie Crisp (Let It Roll)
Date Performance: 1970, Running Time: 3:46 |
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Awaiting On You All
Date Performance: 1970, Running Time: 2:45 |
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All Things Must Pass
Date Performance: 1970, Running Time: 3:44 |
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I Dig Love
Date Performance: 1970, Running Time: 4:54 |
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Art Of Dying
Date Performance: 1970, Running Time: 3:37 |
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Isn't It A Pity
Date Performance: 1970, Running Time: 4:45
Comments: (Version Two) |
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Hear Me Lord
Date Performance: 1970, Running Time: 5:48 |
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It's Johnny's Birthday
Date Performance: 1970, Running Time: 0:49
Comments: (Based upon 'Congratulations' by Martin and Coulter) |
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Plug Me In
Date Performance: 1970, Running Time: 3:18 |
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I Remember Jeep
Date Performance: 1970, Running Time: 8:05 |
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Thanks For The Pepperoni
Date Performance: 1970, Running Time: 5:32 |
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Out Of The Blue
Date Performance: 1970, Running Time: 11:13
Comments: Al Aronowitz is listed as appearing on this track but the liner notes do not clearly indicate what he's specifically doing on this track. |
| Guest Appearances » |
Al Aronowitz, Badfinger, Ginger Baker, Gary Brooker, Sam(antha) Brown, Eric (Patrick) Clapton, Phil(ip) (David Charles) Collins, Ray Cooper, Pete Drake, Mal Evans, Tom Evans, Jim Gordon, Pete Ham, Dhani Harrison, Bobby Keys, Dave Mason, Billy (William Everett) Preston (Vasilisa), Jim Price, Carl Radle, Ringo Starr (Richard Starkey), Klaus Voorman(n), Al(l)an (Dallas) White, Bobby Whitlock, Gary Wright
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| Released » |
1970-11
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| Format » |
Domestic Vinyl/CD Album
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| Other Appearances » |
Phil Coulter (Songwriter), Bob Dylan (Robert Allen Zimmerman) (Songwriter), George Harrison (Songwriter), Bill (William) Martin (Songwriter), David Costa (Art Direction), Sian Rance (Art Direction), Eddie Klein (Assistant Engineer), George Harrison (Produced By), Phil Spector (Produced By), Jon Astley (Remastered By), John Barham (Orchestral Arrangements By), Ken Scott (Engineered In 2000 By), Phil(ip) McDonald (Originally Engineered By), Ken Scott (Originally Engineered By), David Costa (Redesign), Sian Rance (Redesign), Barry Feinstein (Original Photography) |
| Record Label » |
Apple/Captiol |
| Catalogue Number » |
STCH-639 (Original Apple Issue) C2-46688 (1990 Capitol CD Reissue) CDP 7245 5 50474 2 9 (2001 Reissue)
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| Running Time » |
104:09/126:20
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| Liner Notes » |
It's been thirty years since ‘All Things Must Pass’ was recorded. I still like the songs on the album and believe they can continue to outlive the style in which they were recorded. It was difficult to resist re-mixing every track. All these years later I would like to liberate some of the songs from the big production that seemed appropriate at the time, but now seem a bit over the top with the reverb in the wall of sound.
Still, it was an important album for me and a timely vehicle for all the songs I’d been writing during the last period with The Beatles. I began recording just months after we had all finally decided to go our own separate ways and I was looking forward to making the first solo album of ‘songs’ (as opposed to ‘Wonderwall’ and ‘Electronic Sound’ which were instrumental).
I was fortunate to be in the right place to have the remnants of The Delaney and Bonnie band. The drum, bass and keyboard players, namely Jim Gordon, Carl Radle and Bobby Whitlock had come to England to hang out with Eric Clapton (fast becoming Derek and the Dominoes). They had just been touring with Delaney & Bonnie as I had been the year before. We even recorded two of the Dominoes songs ‘Roll It Over’ and ‘Tell The Truth’, during the ‘All Things Must Pass’ sessions which they re-recorded later. It was really nice to have their support in the studio and it helped me a lot.
It goes without saying that it has always been a pleasure to have my old friend Ringo playing drums, and although he probably can't remember, he did play on a good fifty or sixty percent of the album along with Klause on bass, Billy Preston on piano and a few new friends I was in the process of making: Gary Wright and Gary Brooker.
Some of the sessions were very long in the preparation of the sound and the arrangements had at times various percussions players, sometimes two or three; two drummers, four or five acoustic guitars, two pianos and even two basses on one of the tracks. The songs were played over and over again until the arrangements were sorted out so that the engineer in the control room could get the sound with Phil Spector. Many of the tracks were virtually live.
A lot of people new to me came into the sessions, I know not how; the most famous being Phil Collins. During one such session, Phil was allegedly playing congas on 'The Art of Dying', and although it's taken me thirty years, I would like to thank him for his participation.
Above all, I would like to acknowledge my old friend Eric Clapton, who played many memorable guitar parts on the album. At that time we weren't ‘allowed’ by our record companies to acknowledge our presence on each other's albums so he hasn't had a credit for thirty years.
I still see a number of the musicians and friends who helped me with the album... some more often than others. ‘Some are dead and some are living’, but after thirty years of life's lessons I'm grateful to have had three decades of friendship with them.
Rest in Peace Mal Evans, Carl Radle, Pete Drake, Pete Ham, Tom Evans and two of the O'Hara-Smith singers, Betty and Cyril.
I thought we'd have a bit of fun with the package. If you haven't already noticed, our planet has been concreted over at an alarming rate and let's hope in another thirty years we don't have to add Planet Earth to the R.I.P.'s. Thank you Barry Feinstein for being so generous and cooperative with the original photographs, qualities not to be taken for granted today. Also thanks to David Costa and Wherefore Art? who produced the new designs.
Last but certainly not least, the amazing Mr. Phil Spector, who produced so many fantastic records in the sixties. He helped me so much to get this record made. In his company I came to realize the true value of the Hare Krishna Mantra. God bless you Phil.
George Harrison
Sam Brown appears courtesy of Mudhut Records
Mal Evans: Tea & Sympathy
And introducting the George O’Hara-Smith Singers
www.allthingsmustpass.com
Thanks from Ken Scott & Philip McDonald to Eddie Klein
Digital remasters (P) 2001 The copyright in this sound recording is owned by EMI Records Ltd.
(P) 2001 The copyright in this sound recording is owned by George Harrison under exclusive licence to EMI Records Ltd.
(P) 2001 The copyright in this compilation is owned by EMI Records Ltd.
Artwork (C) 2001 George Harrison under exclusive licence to EMI Records Ltd.
Manufactured by Capitol Records, Inc. Printed in U.S.A.
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| Reviews » |
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Add your review here.
 
Title says it all, good with bad, magic still there
Review written by John Fitzgerald, September 11th, 2004 As this was a 3 LP set originally and is the case with most releases of this size, you get much very good material along with a lot of duds at worst but the magic enclosed in the sets better tracks will make it worth it. Dave Mason is listed as playing guitar on the album in general though it also lists him as playing on two of the jams (“Thanks for the pepperoni” (which is basically built around an opening Chuck Berry rocker type of riff of which the players involved build off of) and the more likable driving “Plug me in” (which although has a similar 50’s type background sound eventually, it doesn’t seem as banal here)) so it’s hard to know which other songs Mason plays on here (if any). I have the 30th anniversary version of this album which includes some bonus tracks that have mostly been bootlegged through the years (from what I gather, as I haven’t followed that story too closely), “I live for you” is a fair medium paced piano, maracas & steel guitar led track, the alternate “Beware of darkness” is a pleasing acoustic guitar and vocal only version though it does unfortunately have a tinny sound, the alternate “Let it down” I find easier to understand it’s melody on this stripped down run through though ultimately one can see why they opted for Spector’s “wall of sound” production for the originally released version. “What is life” here is instrumental as they removed the lead vocals (and you can hear at the beginning of the verses that they were in fact “removed” and not just simply “not there”) which would be amusing but the track also features chirping fanfare type trumpets on the track which clearly points out why this version was not used. The 2000 remake of “My sweet lord” has a little bit more electric guitar picking and the background vocals this time out have been brought up front more (but this may just seem this way compared to what was available to them technology wise in 1970 as opposed to now) but apart from this, it’s basically the same deal. So, as for the rest of the regular album, “I’d have you anytime” is a great balladish lead off Harrison/Dylan penned tune with Lindsey Buckingham/Danny Kirwan sounding lead guitar pieces, a real highlight. As for the slidy strumming pop of “My sweet lord”, for those unfamiliar with the lawsuit, all one has to do is listen to “He’s so fine” by The Chiffons to know what this one sounds like melody wise (though it is still nice in it’s “similar” way). “Wah wah” is a muddy likable rocker, The first version of “Isn’t it a pity” here is a downish “Hey Jude” type jingling builder, The up tempo “What is life” was the easy choice for a single and this one at least charted with no controversy. The slidy cover here of Dylan’s “If not for you” is pretty much on par with what Olivia Newton-John had done with the song though Harrison’s one is probably just that little more authoritative. “Behind that locked door” is a waltzing country yowler, “Let it down” has a strong start but fades away though it does have a nice meletron backing. The title of “Run of the mill” says it all as I find it pretty faceless mid tempo stuff, “Beware of darkness” is OK, maybe a little slow but at least it doesn’t have the tinny sound the bonus track version suffers from. “Apple scruffs” sounds like it owes more to Dylan than the Dylan written/co written tracks mentioned above with it’s fast strumming acoustic guitar and harmonica slabs, it’s surprising to check the album notes to find Harrison had in fact written this one. “Ballad of Sir Frankie Crisp (Let it roll)” is another real high point with it’s smooth guitars and chunky piano, this one really grows on you. “Awaiting on you all” has been given the “wall of sound” treatment and I don’t think it works here, it’s too loud to appreciate the melody for what it may have had to offer but the title track is an easy likable dragger. “I dig love” features electric & acoustic piano but it’s a throwaway repeater. “Art of dying” is a fast rocker with minor key dramatics which is good but “Wah wah” is more preferable in this area. “Isn’t it a pity (Version 2)” isn’t as effectively chunky as the first take on this presented here but it thankfully doesn’t last as long this time around as the last one was wearing out it’s welcome towards the end a little. “Hear me lord” is a bland mid tempo track which sounds OK but it just doesn’t go anywhere. As for the “jam section” of the album not listed before “It’s Johnny’s birthday” is based melodically on “Congratulations” (made famous in the UK by Cliff Richard, from what I understand) which has a carousel flavor and it last 49 seconds, with it’s psychedelic noodling of speeding up and slowing down the tape in a warbly way, it’s doubtful you’ll ever listen to this track on it’s own. This could be why “Plug me in” sounded so good when it kicked in right at the conclusion of this track. “I remember jeep” is a clapping stomp with crashing drum cymbals and the lead guitars on this jam are more up front than they sound on the Mason featured ones (which both sounded more like a team effort), “Out of the blue” is the longest of the instrumental jams and I think it’s the most easily listenable one as though it is watered down at times by horns and organ, it doesn’t suffer the Chuck Berry banal riff syndrome of many of the others mentioned. Therefore, it doesn’t seem like 11 minutes in length. In the end though, the best parts of this album outweigh the bad ones and even if just for those good moments, you won’t be disappointed as you’ll feel the magic come through on those high water marks here.
| Comments » |
The "O'Hara-Smith" singers was an in-joke for George Harrison overdubbing all his background vocals himself.
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| Last Modified » |
2010-06-08 |
| Tracklisting » |
Discography entry submitted by Elizabeth (AllExperts), Marty Adelson & Jeff Kenney. |
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