Reissues
2001
Shortly before his death in 2001, Harrison oversaw a reissue of All Things Must Pass to belatedly mark the album’s 30th anniversary.
The two-CD set had five bonus tracks. ‘I Live For You’ was previously unreleased, which had first emerged on bootlegs in 1999. There were also performances of ‘Beware Of Darkness’ and ‘Let It Down’, made for Phil Spector at Abbey Road in May 1970, and a remix of ‘What Is Life’.
The last bonus track was ‘My Sweet Lord (2000)’, a reworking of the song with new lead guitar, Indian drone, Harrison’s son Dhani on acoustic guitar, Sam Brown on backing vocals, and percussionist Ray Cooper on tambourine. The trio also worked on Harrison’s posthumously-released Brainwashed around the same time ‘My Sweet Lord (2000)’ was recorded.
Harrison also changed the sequencing of the Apple Jam tracks to restore the order he had originally wanted. Beginning with ‘It’s Johnny’s Birthday’, it continued with ‘Plug Me In’, ‘I Remember Jeep’, ‘Thanks For The Pepperoni’, and ending with ‘Out Of The Blue’.
In the liner notes of the 2001 reissue, Harrison expressed a desire to remix the All Things Must Pass songs to remove some of Phil Spector’s Wall of Sound effects.
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.
The 2001 reissue was released by Gnome Records, a label set up by Harrison for the project.
The album had newly colourised artwork across the booklet and two CDs. The original image was amended to add skyscrapers, smoking factory chimneys, and flyover roads, eventually obscuring Harrison’s name and the album title, reflecting his concern with the effect of the modern world on ecology and environment.
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. Than 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.
The 2001 reissue of All Things Must Pass was a critical and commercial success. It entered the Billboard Top Pop Catalog Albums chart at number four, and topped its Internet Album Sales chart. In the UK it peaked at number 68.
Harrison’s death on 29 November 2001 coincided with renewed interest in his back catalogue, with All Things Must Pass re-entering the album charts once more on both sides of the Atlantic.
2010
All Things Must Pass was reissued on 26 November 2010 for its 40th anniversary.
EMI released a limited, numbered replica of the original vinyl box set, in its original running order. A digitally-remastered 24-bit version was also made available to download from Harrison’s official website.
2014
A box set, The Apple Years 1968–75, was released on 22 September 2014. It contained six albums spread over seven compact discs, from Wonderwall Music to Extra Texture (Read All About It), plus a DVD and book.
All Things Must Pass was spread over two discs, with the Apple Jam tracks following the amended running order of the 2001 version. The packaging also contained a fold-out poster and lyric sheet, and Harrison’s words on the album from 2001.
The albums were remastered, and were also made available as high-definition digital downloads, mastered in 96kHz/24-bit from the original master tapes by Dhani Harrison.
2021
In June 2021 eight different formats of a belated 50th anniversary reissue of All Things Must Pass were announced.
The new versions were released on 6 August 2021. All Things Must Pass was originally released on 27 November 1970, but the anniversary reissues were delayed due to the Covid-19 pandemic.
The most noteworthy format was the limited Uber Deluxe box set, housed in a bespoke wooden crate. It included 70 tracks spread over eight vinyl LPs and five CDs, including 47 demo recordings, outtakes and studio jams; a Blu-ray disc featuring hi-res stereo, 5.2 surround and Dolby Atmos audio mixes; 96 page scrapbook containing lyrics, diary entries and notes; a wooden bookmark from a Friar Park oak tree; illustration print by Klaus Voormann; a copy of Paramahansa Yogananda’s book Light from the Great Ones; rudraksha beads; and a replica of the original album poster. Completing the set, which retailed for £859.99/$999.98, were 1/6 scale replica figurines of Harrison and the gnomes featured on the cover.
The other formats were a super deluxe 8xLP box set; super deluxe 5xCD and Blu-ray; deluxe 5xLP; deluxe 3xCD; standard 3xLP; an ‘E-Commerce exclusive’ 3xLP splatter vinyl box set; and standard 2xCD. All formats included a new remix by engineer Paul Hicks.
2001 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 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 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 Klaus 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 percussion 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 ‘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. Than 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
One of the best beatles solo albums but I think it’s overproduced. A stripped down version would be nice, but I think that’s hard to do, because the songs were meant to have the spector stuff (unlike let it be, that’s why let it be… Naked exists). The only way to get a stripped down version is to buy the new early takes, vol. 1 I think but I don’t really like demos
I agree. Wah Wah for example is a great hard song and would sound fantastic with just a electric rhythm guitar, lead wah guitar, a bass and some drums, but there’s so much unnecessary instrumentation on the album.
also I believe Harrison said he regretted how much echo was in the album and I agree. it sounds like it was recorded in a tunnel. fantastic album either way
I don’t really agree, I love the Phil Spector sound on the album. Especially on songs like Wah Wah, it’s a sonic masterpiece. The whole record has a great classic sound. Paul and John’s early solo works were extremely minimal in production value, and George went the other way, but I think it really worked in his favor.
Does a complete sessionography of the All Things Must Pass recording sessions exist? I mean a detailed list of recording dates and musician participants? I am looking to see how the album was recorded over the months from May to October 1970.
Can anyone definitively answer the question as to whether a de-Spectorized version of this album is even possible? Was the echo added during the recording phase and thus permanently burned-in to the master multi-track tape? or was it added during post-production mix-down? The above notes from Spector seem to indicate that George was acting as producer for the recording sessions and producing preliminary mixes, with Spector acting merely as an adviser. This seems to correlate with George’s claims that he essentially produced the recording sessions because Spector was too drunk to attend the sessions. Since Spector produced the final mixes – which George initially hated – and given that the Beatles were not accustomed to recording music in the Spector “wall of sound” style with echo chamber, this would seem to indicate that the echo was added in post production mix-down.
Can anyone actually confirm this theory please?
Didn’t they release a ‘reverb’ minimal version of the album around 2000 ?
No. George originally wanted to remix it as he didn’t like the reverb but he let it roll as he remastered it.
the record was recorded dry. GH wanted the flexibility. a new remix could yield a very different sound. Unnecessary, tho.
Yes there is a de-spectorized version of this album (all things must pass) . I believe it was released around 2001. The new cut of this album is much cleaner and is truer to George as an artist. Harrison on reflection couldn’t believe he released the Spector version of the album – although at the time he was ok with the mix. I suspect the commercial and critical acclaim afforded to the initial release of the album would have cemented George’s view that using Spector was generally speaking a reasonable decision. One final note – yes – Spector was very volatile and drunk during the production of this album and much production was done by George and those around him.
no, the 2001 version is not de-spectorized, even if George had the will to do it, but preferred to not. it’s only remastered. the one without the wall of sound is available only on bootlegs such as Songs for Patty
All Things Must Pass is a monumental effort by George Harrison ; his finest solo achievement and one of the greatest of pop/ rock history. He and Phil Spector at their best. The years of waiting behind Lennon and McCartney ironically worked in Georges favor with such a great backlog of songs. My Sweet Lord, What Is Life?, Isnt It A Pity,Beware of Darkness, All Things Must Pass,Wah-Wah and Id Have You Any Time are all personal favorites of mine. It was George Harrisons birthday just the other day and how the world misses him.
This record grows with you – as you progress thru. Tracks I loved in my 20’s are different from ones that resonate tom
The Beatles anthology has the early recordings that were not released as Beatles songs, & later were released on All Things Must Pass. No wall of sound on those!
I bought atmp in 1974 in a record shop in Belfast called—Harrison’s!, played it until. It was almost white . I loved everything about it ,the music ,of course, but the packaging was great the coloured sleeves with lyrics ,the brilliant poster,right down to the orange apple labels and stunning apple jam label.all those years ago!,,,
It was definitely ahead of its time, as well. It’s big sound and celebrity roster were like the prototype for the super group tours like Ringo’s All Star Band and his own Bangalalesh benefit. Harrison was always my favorite Beatle, but I didn’t realize the depth of the impact his death had on me until I bought the CD version of ATMP. I only made it through a few songs before I broke down in tears and had to turn it off. Its such a masterpiece… both musically and lyrically… Who knew such greatness was hiding inside what was always the shyest and most subdued member of the Fab Four? I remember his words from an interview “I”m just a gardener tending to God’s garden”. (About his private life at his sprawling estate) For someone of his fame and stature level, to be that materially stripped down and philosophically aware, is totally inspiring. I’m proud to say he’s one of my biggest, if not THEE biggest, hero I’ve ever had.
EVERYONE seems to put down PHIL SPECTOR’s work with the Beatles – including THE ‘producer’ of the final Beatles albums… (not GEORGE MARTIN)….PAUL McCARTNEY who
even went so far as to remix LET IT BE (‘Naked’)… which he had a right to do as the ‘featured artist’ on what was HIS album idea for the Beatles to ‘Get Back’ to the very basics of how they USED to record & work in the beginning… only to abandon & hate the whole idea in realizing they’d grown as artists (and men) with ideas & concepts that couldn’t be done like that anymore, and DUMPED the whole LET IT BE disaster in SPECTOR’s lap… and even McCARTNEY himself after doing THE LONG & WINDING ROAD ‘stripped down and naked’ & performed it LIVE that way went BACK to using the horn arrangements (less full choir) that SPECTOR had arranged/produced.
And now Phil’s work on ATMP is being attacked for “his” WOS echoing style.
Harrison’s album WAS & IS a masterpiece – and (as far as THIS musician is concerned) still the FINEST solo album of those four legendary figures ever released.
Just ‘LET IT BE’ – as it was… ?
Nope…
Yep…
Bobby Whitlock plays harmonium and tubular bells aka xylophone
Tubular bells and xylophone are not the same instrument.
Greatest music of all times.
No musician can match George s. Versatility
We are all so blessed to hear his music
Original ATMP contained a poster ! I never knew l was robbed. I paid 5 pounds for it and was only on 4 pounds 10 shillings a week pay took me weeks to save up for it. Anyway great album great to read the comments and that people care about great music
The All Things Must Pass box set contains a lot of new information regarding the recording process, including recording dates of the individual tracks. Hopefully a lot of the new info can be added here.
Phil Spector never should have been let near anything but Motown-type songs where that huge wall of sound was appropriate. It never suited Lennon’s solo stuff, nor did it suit Harrison’s. To me this whole album is ruined by it.
I love this album and it’s a masterpiece. My sister gave me a copy of the album on remastered 180g vinyl for my 30th birthday in 2019 – it was the 2017 vinyl remaster. IIRC, I first became aware of the album’s existence because my best mate from school Cameron Masters’ parents owned it on vinyl, but it’s so long ago that my memory may not be accurate.
As I have said in a previous post, my favourite recording of the title track is the demo version that you hear on “Anthology 3” and where George is singing in a light and sensitive falsetto voice while playing his electric guitar with a prominent tremolo effect plus some other guitar overdubs.
Too bad Bobby Whitlock was washed out of an album he had much input on and much playing as a member of the “core” band. So is life.
ATMP is the best selling solo Beatle album thanks to the help of Phil Spector’s reverb. He created an album with a unique ethereal grandeur that complements the songs. Take it away and you’re left with dry sounding demos. Sparse production didn’t help Lennon and McCartney sell albums in 1970. You can quibble all you want but removing Phil’s production styles would not have made a better album.
Great album, although i don’t like Spector’s production of this.
Too much echo on everything.
Imagine if George Martin had been the producer!
The above article states that this amazing album “(…) remained at number one in the UK for eight weeks, from 6 February to 27 March”. But … the truth, when considered historically, turns out to be much more complicated. As the author of the website “The Beatles Complete U.K. Discography” (www.jpgr.co.uk) rightly notes:
On 26th December 1970 the album entered the chart at number 13, eventually peaking at no.4 on 30th January where it stayed for five weeks.
It’s full chart run: 13-13-5-5-13-4-4-4-4-4-9-9-9-9-18-19-24-35-out-28-21-out-36-32 (on 19th June), then not seen in charts after that.
But …. Allegedly in 2006 the official chart company found data that showed the album hit number 1 for 8 weeks.
The error was said to be due to a postal strike in Britain during February and March of 1971,
when the national chart compiler of the time failed to receive any sales data from retailers.
So 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.
BUT …. the charts ….. AT THE TIME … did not ever show the album at number one and that’s what we were living through in 1971″.
So with the above in mind, today’s claim that All Things Must Pass was the No. 1 album in the UK in 1971 is a bit like “correcting” history.