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the album

All Things Must Pass is the third studio album by the English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled Apple Jam. Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles. Production began at London's EMI Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and members of Delaney & Bonnie's Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Billy Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album's worth of extra material, most of which remains unissued. All Things Must Pass was critically and commercially successful on release, with long stays at number one on charts worldwide. Co producer Phil Spector employed his Wall of Sound production technique to notable effect; Ben Gerson of Rolling Stone described the sound as "Wagnerian, Brucknerian, the music of mountain tops and vast horizons". Reflecting the widespread surprise at the assuredness of Harrison's post Beatles debut, Melody Makers Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!" During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album's release. After this reissue, the Recording Industry Association of America certified the album six times platinum. It has since been certified seven times platinum, with at least 7 million albums sold. Among its appearances on critics' best album lists, All Things Must Pass was ranked 79th on The Times "The 100 Best Albums of All Time" in 1993, while Rolling Stone placed it 368th on the magazine's 2023 update of "The 500 Greatest Albums of All Time". In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.

Music journalist John Harris said George Harrison's "journey" to making All Things Must Pass started when he visited America in late 1968, after the acrimonious sessions for the Beatles' self titled double album (also known as the "White Album"). At Woodstock in November, Harrison started a long lasting friendship with Bob Dylan He also wrote more songs, renewing his interest in the guitar after three years studying the Indian sitar. As well as being one of the few musicians to co write songs with Dylan, which became a hit single for Cream in the spring of 1969. Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles, 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. 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. He also recorded with artists such as Leon Russell and Jack Bruce, and accompanied Clapton on a short tour with Delaney Bramlett's soul revue, Delaney & Bonnie and Friends. 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. 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). In January 1970, Harrison invited American producer Phil Spector to participate in the recording of Lennon's Plastic Ono Band single "Instant Karma!" 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), and later co producing All Things Must Pass. 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. given his usual quota of two tracks per album and the occasional B side. Harrison recorded demos of "All Things Must Pass" and two other compositions that had received little interest from Lennon and McCartney at Twickenham. 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. He began talking publicly about recording his own album from the autumn of 1969, but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970. Included as part of the promotional material for McCartney's self titled solo album, this announcement signalled the band's break up. Despite having already made Wonderwall Music (1968), a mostly instrumental soundtrack album, and the experimental Electronic Sound (1969), Harrison considered All Things Must Pass to be his first solo album. and Joshua Greene also, as well as by music critics John Harris,

He then sent early mixes of many of the songs to his co producer, who was convalescing in Los Angeles, and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing. Spector also made suggestions about overdubbing more instruments and orchestration on some tracks, but encouraged Harrison to focus on his vocals and avoid hiding his voice behind the instrumentation. 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"). Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar. 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  " 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".

On 9 October, while carrying out final mixing at EMI, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday". The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein. 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. 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. 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. According to Leckie, however, the reverb on tracks such as "My Sweet Lord" and "Wah Wah" was recorded onto tape at the time, because Spector insisted on hearing the effects in place as they worked on the tracks. Outtakes from the recording sessions became available on bootlegs in the 1990s. One such unofficial release, the three disc The Making of All Things Must Pass, 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. The stark black and white cover photo was taken on the main lawn at Friar Park The gnomes had recently been delivered to Friar Park and placed on the lawn; seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band. William Bender of Time magazine described it as an "expressive, classically executed personal statement  one of the outstanding rock albums in years", while Tom Zito of The Washington Post predicted that it would influence the discourse on "the [real] genius behind the Beatles". In The New York Times, Don Heckman deemed the album "a release that shouldn't be missed" John Gabree of High Fidelity described it as "the big album of the year" and a "unified yet tremendously varied" work. In response to rumours that the Beatles were due to reunite, Gabree said that, on the strength of the Harrison and Lennon solo albums, "I, for one, don't care if they ever do."

An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade. 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". 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". AllMusic's Richie Unterberger views All Things Must Pass as "[Harrison's] best  a very moving work", Unterberger has also written that while the Beatles' break up remains a source of sorrow for many listeners, "it's impossible not to rejoice in George's greatest triumph" and that, as further evidenced in the bootlegs of outtakes from the sessions, Lennon, McCartney and Beatles producer George Martin undervalued not just Harrison's songwriting abilities but also his talent as a producer. Q magazine considers the album to be an exemplary fusion of "rock and religion", as well as "the single most satisfying collection of any solo Beatle". 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; in the same publication, Mikal Gilmore labelled the album "the finest solo work any ex Beatle ever produced". In his 2001 review for Mojo, John Harris said that All Things Must Pass "remains the best Beatles solo album  oozing both the goggle eyed joy of creative emancipation and the sense of someone pushing himself to the limit". In another 2001 review, for the Chicago Tribune, Kot wrote: "Neither Lennon nor McCartney, let alone Ringo Starr, ever put out a solo album more accomplished than All Things Must Pass In subsequent years, Lennon and McCartney would strive mightily to scale the same heights as All Things Must Pass with solo works such as Imagine and Band on the Run, but they would never top it." Nigel Williamson of Uncut said that the album includes some of Harrison's best songs in "My Sweet Lord", "All Things Must Pass" and "Beware of Darkness", and stands as "George's finest and arguably the best post Beatles solo album of them all". 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.|source= – Music critic Tom Moon, in 1,000 Recordings to Hear Before You Die (2008)|width=25%|align=left|style=padding:8px;
Author Mark Ribowsky says that All Things Must Pass "forged the seventies first new rock idiom", while music historian David Howard writes that the album's combination of expansive hard rock and "intimate acoustic confessionals" made it the touchstone for the early 1970s rock sound. 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." In his PopMatters review, John Bergstrom likens All Things Must Pass to "the sound of Harrison exhaling", adding: "He was quite possibly the only Beatle who was completely satisfied with the Beatles being gone." 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. 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. Writing for Spectrum Culture, Kevin Korber describes the album as a celebration of "the power that music and art can have if we are free to create it and experience it on our own terms", and therefore "perhaps the greatest thing to come out of the breakup of the Beatles". Jim Irvin considers it to be "a sharper clutch of songs than Imagine, more individual than Band on the Run" and concludes, "It's hard to think of many bigger hearted, more human and more welcoming records than this." Robert Dimery's 1001 Albums You Must Hear Before You Die and Tom Moon's 1,000 Recordings to Hear Before You Die. In 1999, All Things Must Pass appeared at number 9 on The Guardians "Alternative Top 100 Albums" list, where the editor described it as the "best, mellowest and most sophisticated" of all the Beatles' solo efforts. In 2006, Pitchfork placed it at number 82 on the site's "Top 100 Albums of the 1970s". It was ranked 433rd on Rolling Stones list of the "500 Greatest Albums of All Time" in 2012 and 368th on the 2020 updated list. All Things Must Pass has also appeared in the following critics' best album books and lists, among others: the Paul Gambaccini compiled Critic's Choice: Top 200 Albums (1978; ranked number 79), The Times "100 Best Albums of All Time" (1993; number 79), Allan Kozinn's The 100 Greatest Pop Albums of the Century (published in 2000), Qs "The 50 (+50) Best British Albums Ever" (2004), Mojos "70 of the Greatest Albums of the 70s" (2006), the NMEs "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). In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame, an award bestowed by the Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old".

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. Ken Scott engineered the reissue, Harrison and Scott were shocked at the amount of reverb they had used in 1970 and were keen to remix the album, but EMI vetoed the idea. Harrison also oversaw revisions to Wilkes and Feinstein's album artwork, 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". As a further example of his willingness to embrace modern media, 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". Titled All Things Must Pass: 30th Anniversary Edition, the new album contained five bonus tracks, including "I Live for You", two of the songs performed for Spector at EMI Studios in May 1970 ("Beware of Darkness" and "Let It Down") and "My Sweet Lord (2000)", a partial re recording of Harrison's biggest solo hit. In addition, Harrison resequenced the content of Apple Jam so that the album closed with "Out of the Blue", as he had originally intended. According to Scott, Harrison had suggested they include a bonus disc containing recollections from some of the album's contributors, starting with Ringo Starr. The idea was abandoned since Starr could not remember playing on the sessions at all. Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America. There, the reissue debuted at number 4 on Billboards Top Pop Catalog Albums chart and topped the magazine's Internet Album Sales listings. Writing in Record Collector, Doggett described this success as "a previously unheard of achievement for a reissue". 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. With the release on iTunes of much of the Harrison catalogue, in October 2007, the album re entered the US Top Pop Catalog chart, peaking at number 3.

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. Each copy was individually numbered. In what Bergstrom views as a contrast with the more aggressive marketing campaign run simultaneously by John Lennon's estate, to commemorate Lennon's 70th birthday, release of the Ravi Shankar–George Harrison box set Collaborations 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.

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

On 27 November 2020, the Harrison family released a stereo remix of the song "All Things Must Pass" to mark the album's 50th anniversary. Dhani Harrison described it as a prelude to further releases related to the anniversary. That same month, as part of its Archive on 4 series, BBC Radio 4 broadcast "All Things Must Pass at 50", a one hour special presented by Nitin Sawhney. On 10 June 2021, the release of a 50th anniversary edition was officially announced for 6 August. The most extensive editions contain 70 tracks across 5 CDs/8LPs, including outtakes, jams and 47 demos, 42 of which are previously unreleased, and a scrapbook containing archival notes and track by track annotation curated by Olivia Harrison. along with scale replica figurines of Harrison and the Friar Park gnomes, an illustration by Voormann, and Paramahansa Yogananda's text "Light from the Great Ones", among other extras. The release received maximum scores from Mojo, The Times, The Daily Telegraph, the Daily Mail, the Daily Express, Uncut and American Songwriter. It peaked at number 6 in the UK and number 7 on the Billboard 200 in the US; in other Billboard charts, it topped the listings for Top Rock Albums, Catalog Albums and Tastemaker Albums, and placed at number 2 on Top Albums Sales. The 50th anniversary release also peaked at number 2 in Germany and number 3 in Switzerland, among other top ten international chart placings.

All songs written by George Harrison, except where noted.