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All Things Must Pass was released by Apple Records in November 1970. Co-produced by Harrison and Phil Spector, many musicians contributed to the album, including Eric Clapton, Ringo Starr, Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, members of Badfinger, players from Delaney and Bonnie band, and John Barham. Find George Harrison discography, albums and singles on AllMusic. Find George Harrison discography, albums and singles on AllMusic. George Harrison. All Things Must Pass: Capitol 1971: The Concert for Bangladesh: Capitol 1973: Living in the Material World. All Things Must Pass is ranked as the best album by George Harrison. George Harrison album bestography « Higher ranked This album (150th) Lower ranked (2,102nd) »-All Things Must Pass Cloud Nine. Members who like this album also like:Abbey Road by The Beatles, Revolver by The Beatles and The Beatles (The White Album) by The Beatles.

Listen & Buy more of George Harrison’s music here: the official website and store http://www.georgeharrison.com/. All Things Must Pass was released by Apple Records in November 1970. Co-produced by Harrison and Phil Spector, many musicians contributed to the album, including Eric Clapton, Ringo Starr, Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, members of Badfinger, players from Delaney and Bonnie band, and John Barham.

By 1970, each exhausted member of the Fab Four was in the process of splitting off to explore new sonic worlds. Two of the greatest ex-Beatle solo records, George Harrison’s All Things Must Pass and John Lennon’s Plastic Ono Band, turn the ripe old age of fifty this year. Released the same year as McCartney’s self-titled solo debut (not as remarkable as Ram, which would follow the next year) and Ringo Starr’s Sentimental Journey, it’s instructive to explorehow Harrison and Lennon’s efforts emerge, and then diverge, from the same traumatic starting point. Former brothers in arms, they exhibit very different but equally useful approaches to the weight of disappointment, exhaustion, and disillusionment they’ve been carrying so long.

With the masterful All Things Must Pass, Harrison seizes the longed-for opportunity to make a record of his very own. Lennon and McCartney had blithely hogged the space on most of The Beatles’ records and given poor George only a few chances to do his thing—a “Taxman” here and a “Within You Without You” there. It’s not surprising that Harrison’s first solo record spreads out over four sides and takes mutability—the poetic transience of all things—as a starting point and hits its stride precisely as it lets the world pass by.

All Things Must Pass Song

“Isn’t It A Pity” laments the callous way that human beings treat one another, while “What Is Life” (used to highly ironic effect during the coked-out paranoid montage in Goodfellas) wonders what the point of it all is if we don’t have that which makes life worth living. “My Sweet Lord” celebrates the peace and joy he’s found in his spiritual maturation, even if the melody was perhaps unconsciously inspired by The Chiffons’ take on Ronnie Mack’s “He’s So Fine.” There’s a few examples of his lingering and long-held bitterness, though: “Wah Wah” was written fresh after a fight with his bandmates over their disregard for his musical skills. The haunted “Beware of Darkness” makes warning references to “falling swingers” “greedy leaders” and “soft-shoe scufflers” all of whom are trying to pull the veil of Maya further over the eyes of a gullible public. In fairness, it should be pointed out that once upon a time it also fell hard for Beatlemania.

The brilliant but highly unstable Phil Spector brings his patented operatic wall of sound to almost every song, which at times almost overshadows Harrison’s careful songwriting with layered backing vocals and instruments, including Harrison pal Eric Clapton. The density of the arrangements helps foster a sense of catharsis, especially in the thunderous “Let It Down.” A reminiscence of childhood like “Apple Scruffs” jibes well with sweet love songs like “I’d Have You Anytime” and “If Not For You.” Harrison dedicated one of his songs to a fellow named Frankie Crisp, from whom he’d purchased a sprawling new estate. While renovating the estate Harrison went through the previous owner’s personal effects and this only reinforced Harrison’s already profound sense of perpetual change.

The plaintive title song emphasises this transience, and I have to admit that it’s hard for me not to get misty-eyed every time I hear it. Three blues-soaked instrumental jams close the record out in high spirits. Emerging from the passive-aggressive wreckage of his former band, with a record that is uniquely his own, Harrison can’t help but make a statement on what it’s like to be tired of being in the biggest band in the world. It’s clear that Harrison has little interest in mourning it as much as getting on with life.

In contrast, Lennon’s Plastic Ono Band spares nothing in the way of raw emotion, sentiment, or bitterness. Also produced by Spector, but much starker at the insistence of Lennon and Ono, it comes in hot with the caterwaul of “Mother” which lays out in plain anguished terms the core trauma of Lennon’s life, which he kept coming back to, repeating the horrific and all-too-human wail of “Mama don’t go/ Daddy come home.” Primal scream therapy had given Lennon a chance to release the rage and pain he’d been carrying his whole life and he certainly felt like it had done him some good. He continues it in the caustic “Well Well Well” and his adored Yoko’s version of the solo material goes even farther sonically out than he does.

Lennon’s personal maturation was more political and less spiritual than Harrison’s. Of course, there was always a deep irony in someone as rich and famous as Lennon was deciding to sing about the benefits of having no possessions. But there’s no question that a record opening with the soul-baring “Mother” is coming from a place of utterly naked honesty. “I Found Out” almost revels in its disillusionment, snarking about having seen “religion from Jesus to Paul” which puts an exclamation point on his infamous, albeit true, remark about The Beatles being bigger than Jesus. “Isolation” draws a distinct line between his closely guarded private world and the madness on the other side, which serves as both a positive and negative gesture. “Remember” also walks the line between rejecting everything and letting go of it, which are two different but related emotions.

Amid all this loud alienation and fierce ambivalence, some of Lennon’s most open and vulnerable love songs are sprinkled into this relatively short record, such as the heartbreakingly vulnerable “Look At Me” and the haiku-like “Love.” To put it in terms familiar to both men, by 1970 George’s yin and yang are heavily favored towards the passive, meditative yang while John is still the active, passionate yin. In a certain sense his love songs are as primal in a way that is light years from the rage and bitterness of his other material. For a smart ass like John, writing something as simple and almost corny as “love is real, real is love/love is feeling, feeling love/love is wanting, to be loved” takes as much guts as screaming about how there ain’t no gurus and gods. “Working Class Hero” is in its own way a primal scream that never goes above a conversational volume. Using only a few bleak critiques about everything wrong with contemporary society, it even comes right to the edge of spiting his audience: “Keep you doped with religion and sex and TV/ and you think you’re so clever and classless and free/ but you’re still fucking peasants as far as I can see.”

With every listener perfectly aware of the stakes, Lennon made probably the biggest statement of his entire solo career. Forget the lofty oversimplifications of “Imagine”—in “God” he begins by aiming his sights at every form of control he can think of: “God is a concept by which we measure our pain.” With steadily recurring piano chords ringing out like conclusive amens after each statement, Lennon recites a litany of dissent. Yoga, Hitler, Kennedy, kings, I Ching, Zimmerman (meaning Bob Dylan, of course), Jesus, Buddha, and Elvis each get disavowed one after the other as false idols. To conclude his tract, Lennon settles on the biggest pop idol of them all, which can only be the band he just left behind. After a moment of poised, portentous silence—is the dream really over?—Lennon says in a disarmingly plain voice what he’s left with: “I believe in me/in Yoko and me/and that’s reality.”

Just like that, a whole generation’s hype, hope, and hysteria are tossed aside into musical history’s ashtray. The dream is over, kids, and two of the four pillars of that dream want you to know that he’s over it, too. Harrison lets his statement be more subtle, while Lennon pushes it right in front.

Maybe it’s because I seem to be hearing it a lot lately, I must confess that whenever I hear someone say that they “hate” The Beatles, something inside me dies. It’s not so much that I care very much about whether or not the most famous and adored rock band of all time has more praise heaped onto them. It’s not like I even listen to The Beatles all that often. I sort of don’t have to; many of their songs were stitched into my brain long ago, as they were for countless others. Being marketed and managed extremely well will do that.

But slagging off the Beatles as a mere media creation is callously throwing away a thing of beauty simply because that beauty has been widely-remarked upon, and fetishized, which is pointless at best and posturing at worst. Fifty years on, the dream isn’t necessarily over; new Beatles fans come on board all the time. Look at the astronomical sales of the many compilations that appear many years after the fact. Just because the people who were making that music all along ended up going their own separate ways, and often showed tremendous bitterness towards the world that had once given them everything, only proves that the music they made was more meaningful than the world itself ever understood. words/m hanson

All Things Must Pass Lyrics

George Harrison All Things Must Pass Album Torrent Download

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