Handling much of the keyboard work with Whitlock was Gary Wright, [120] who went on to collaborate regularly with Harrison throughout the 1970s.

According to a contemporaneous report in Beatles Monthly, pre-production began on 20 May 1970, [103] the same day as the Let It Be film's world premiere.If you love the work of George or want to learn more about him then this album should be in your collection, in fact this album should be in every record collection, a definite 500 out of 5. The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works. nb 7] Orchestral arranger John Barham also attended the sessions, occasionally contributing on harmonium and vibraphone. Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii" [115] for his final studio album, the posthumously released Brainwashed (2002). In the fallout to the break-up, according to journalist Kitty Empire, Harrison's triple album "functioned as a kind of repository for grief" for the band's fans.

Ben Gerson of Rolling Stone deemed All Things Must Pass "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty" [2] and referenced the three-record set as an "extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the War and Peace of rock 'n' roll". In celebration of the 50th Anniversary, George Harrison’s, All Things Must Pass, is celebrated with a suite of new releases highlighted by a stunning new mix of the classic album by Grammy Award-winning mixer/engineer Paul Hicks, overseen by executive producer Dhani Harrison.Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete, [197] [198] recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October. In celebration of the 50th Anniversary, George Harrison’s, All Things Must Pass is being celebrated with a suite of new releases highlighted by a stunning new mix of the classic album by Grammy Award-winning mixer/engineer Paul Hicks, overseen by executive producer Dhani Harrison. I’m not completely adverse to the sound of the remix as I did really enjoy George’s increased vocals and more detail, but I felt it lost some of the weight, presence and nuance of the original; I also noticed considerable amounts of distortion on the busier moments of tracks like ‘isn’t it a pity’ and ‘let it down’ which sounded compressed and muddy. 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. This is the 50th anniversary remixed 5 album version which believe it or not, I haven't got round to playing yet!

nb 17] He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles, [129] and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing. 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. To quote the man himself from the sleevenotes: " 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". Even if you have this album I would recommend purchasing this if you want to hear it at its best - so far.

Language - Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description. Other songs on All Things Must Pass, all written during the first half of 1970, include " Awaiting on You All", which reflected Harrison's adoption of chanting through his involvement with the Hare Krishna movement; [72] [73] " Ballad of Sir Frankie Crisp (Let It Roll)", a tribute to the original owner of Friar Park; [74] and " Beware of Darkness". Citing Wright's description that Harrison created a "profoundly peaceful" mood in the studio that complemented the quality of the musicianship, musicologist Thomas MacFarlane likens the atmosphere to the sessions for Harrison's Indian-style recordings for the Beatles, such as " Within You Without You".

The face label on each side of disc three contained a jam jar painted by designer Tom Wilkes, showing a piece of fruit inside the jar and two apple leaves on the outside.Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison's run-through of songs for Spector. 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. 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! 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.