His slide guitar is wonderful

At the end of the day George’s music touches me the most. But my all time favorite solo album is Ram. I never get tired of it, enjoy the heck out of it. Next is Plastic Ono Band, then ATMP. But I love them all !

This underscores what I have long thought: one of the biggest tragedies of the breakup of the Beatles was the breakup with George Martin. Aside from Let It Be/Get Back (which of course wasn't fully produced by George) all of the Beatles tracks are well produced and don't sound dated (except one could argue the early music which isn't the production's fault). Yet you have so many solo works that people say "Well that could have been produced better" to the point where it makes the music less enjoyable.

In the run-up to release, the album was heralded (here in the UK) as a forthcoming double album. The 3rd LP, the Apple jam disc, was recorded when the musicians were 'mucking about' during the recording sessions. When the double album was eventually released, the Apple Jam disk was included as a bonus disk for fans (in the same way as reissues sometimes have bonus tracks on them), which is why it bears a different label (not the orange apples).

The album is almost perfect. The only songs that could be dropped are "I dig love" and "Isn't It a pity (version 2)"

I got the CD in 1990. I read so many glowing reviews of this album growing up that I had to listen for myself. It did not disappoint. Like you, Matt, I got the 2001 remaster and the 2020 remix. Personally, I love the 2020 remix and that the vocals are much clearer and the production stripped down a bit albeit nowhere close to being “naked”. It’s easy to root for George which I think is why most critics heaped a lot of the praise upon it. I like almost all of the tracks and my favorite is “Run Of The Mill”. I always thought “I Live For You” would have been a nice addition. Perhaps it might have been better for Ringo. Last but not least, I have heard George’s slide guitar being emulated. On Linda Ronstadt’s “You’re No Good “, Andrew Gold plays lead guitar on it and the slide is very Harrison-esque. Also, “You’re So Vain” by Carly Simon has a very Harrison-like solo played by Jimmy Ryan. There’s also a Beach Boys song called “Marcella” where there is a slide guitar solo played in a similar style to Harrison. I think Phil Spector was a PIANO (Producer In A Name Only) on this album. The only thing that guy was producing was evidence. 😉 Ok, I’ll stop for now. Excellent review as always, Matt!

All Things Must Pass is a near perfect album. Side One and Side Three are amazing with a range of styles and emotions. The Apple Jams are super fun and Out of the Blue is a sublime song.

I think this album shows the core of George as musician, composer and mystic. Its definite Harrison.

I'm glad this album exists and George got it out of his system. I'm also fine with it being named the best solo Beatles album, the triumphant story that comes with it does add to the legacy. George must have thought being a solo star was going to be easy after such a great start. But, I do think it leads to more evidence that all 4 Beatles really needed eachother to be at their best. This album is basically all the scraps from a guy who was being pushed to his creative peak. But as the 70's progress he does seem to tire of pumping out songs/albums and touring, I don't think being an ex-Beatle was quite as rosy as he thought it would be. He said he wouldn't ever be in a band with Paul again so I don't think he craved The Beatles especially, but I think he is more suited to being in a band (or doing occasional projects inbetween gardening), as the mundane superficiality of the music business must be very tedious for him.

I agree, Apple Jam was a throw in just so that it is a 3 disc set. Plus the extra length of tunes and the extra "Isn't It A Pity" is filler for sure. Beware of Darkness is my favourite on the album. It has to be a double album because it would be hard to reduce it to a single disc. There are few songs I would drop but "I Dig Love" could be dropped but I don't think the album can be reduced to a single album. It is interesting to think of stripping back the production and making it feel like a more personal statement.

I really do like that you don't hold back on what you think. I never feel you pander to your audience and this is why I keep coming back. Thanks for keeping it honest. Here is why I think it's a great album. 1) The sound is so big and unique. I don't think there is another album that sounds like this one. I really can't think of one. It's that unique. The full Spector treatment on Wah Wah, What is Life, Awaiting you All, Art of Dying and Let it Down are just enormous. A pity for Let it down, because it's a much better song when dialed down, but all of the others benefit from this explosion of Harrison/Spector/Delanney and Bonnie noise. The you have the impact of the big sound on the slower numbers which adds a grandeur that they wouldn't have had if done in another style. Wagnerian was an apt description by one reviewer. 2) It has three obvious hit singles in My Sweet Lord, What is Life and Apple Scruffs. All three are poppy and none of them are insipid. 3) The songs with more of an acoustic feel are just wonderful- Apple Scruffs, I'd Have You Anytime, If Not for You, Behind that Locked Door, If Not for You, Sir Frankie Crisp, etc. Just great. 4) Harrison isn't stuck in one style; you've got songs with a Dylan feel, pop songs, Delaney and Bonnie Songs, Spector girl group songs, Harrisons more hymn like songs- the variety on this album keeps it fresh for a two album listen. Hard to do with a single voice. 5) The lyrics, the lyrics , the lyrics. Harrison walks the lines between personal to universal without being preachy, upset without self pity. (He won't do this agin until the George Harrison album in 1979.) The lyrics are wise and thoughtful and humane. I don't feel dirty like after an Eagles song or full of indifference like a stones song or self pity like a who song or better than like after a Dylan song. 6) The singing. Harrison was the weakest of the three vocalist with the Beatles- easily the weakest, but on this album he's in better voice than on any other album. Even ignoring all of that, I just love his voice on this album. His voice sounds warm and inviting and his falsettos are wonderful . And his backing vocals are just a tour de force. He painstakingly overdubbed most ,if not all, of them and the sound is really good. 7) The slide guitar. It became the sound of many pop songs in the 70's for a reason, his slide playing is just great. You hadn't really heard this type of sound in a pop songs before this, but you heard tons of it after. 8) It's influence. Harrison put out the first of three big albums that were influenced by Delaney and Bonnie (ATMP, Layla and Exile) . The White Gospel feel was popularized by Harrison (after learning it from D and B) and soon copied by many. Combining it with a Spector sound and lyrics that had actual meaning to them was unique and a good listen. 9) I could add some more, but I'll stop there. CRITICISMS: The Apple Jam is not needed. But the Apple Jam was always presented as an extra- like the poster. So I have never considered it the album proper. I Dig Love is awful. The version of Let it Down doesn't really work, although a great acoustic version is included in the Anniversary set. He probably could have been fine with one Isn't it a Pity. He should have dumped version 2 for I live for You. Ah Pete Drakes steel guitar was another great feature of this album. Anyhow, so 3 bum songs out of 18, the rest were all keepers.

I think the album is virtually perfect. Exempting the Apple Jam disc. There are a few lesser cuts on the double LP, but I think overall the level of consistency is astonishing.

Lennon also got lucky on “Starting Over” as the melody on the lyrics “But when I see you darling, It's like we both are falling in love again” is a direct (perhaps subconscious) lift from The Beach Boys “Don’t Worry Baby” in the part where the lyrics are “But she looks in my eyes And makes me realize And she says "don't worry, baby"

I bought the album straight away. 💜George's songs were beautifully designed and written.....It was a pleasure listening to all the songs and knowing they were all George's. 💜

18:32 That still with Spector and the blackberry brandy is hilarious

In 1970, both McCartney (in writing) and Lennon (in song) announced that the Beatles were over, and proceeded to fashon lo-fi, DIY debuts that seemed primarily designed to placate their bruised egos. Lennon was decidedly non-commercial, and McCartney eschewed a sure hit by not releasing "Maybe I'm Amazed" as a single. Ringo made albums simply to keep busy. George made no such pronouncements, and optimistically declared, "All Things Must Pass". His debut was everything those albums weren't: lush, sprawling, hopeful, and made with the audience in mind. If the production and scope are seen as faults in hindsight, it was exactly what heartbroken Beatle fans needed at the time. John screamed and Paul wimpered. George performed, and helped the audience adjust to the "new normal" that was the fabs' dissolution. That is what makes the set so enduring.

Great video as always. I actually rank "I'd Have You Anytime" higher - it's an absolute classic for me. The "2nd batch of 6" that you said were OK I think are actually really good The ones you called "filler" are decent though admittedly not great, but still better than the bottom half of Lennon and McCartney's solo work. "Behind that locked Door" is really good. "I Dig Love" could be great if it had more (and less repetitive) lyrics. "The Art of Dying" is fantastic and gives me chills. I think it's the wah wah pedal that sounds dated to most people today. To be honest I've listened to the jams songs exactly once just like you said and feel no need to go back to it, although I agree "Out of the Blue" could have been something. Good point about the backlog myth. I also agree the sound is muddied, as are most post-Beatles albums. I only bought this album as the 30th anniversary version and the new version of My Sweet Lord is arguably better than the original although his voice was almost destroyed by cancer at that point. Disappointed you didn't mention the outtake "I Live For You" which is fantastic and absolutely baffling that it was left off (clarification - left off the album originally). I go back and forth between this and Living In The Material World as my favorite GH album. Nobody gives it any respect but I love introspective spiritual George. His songs went downhill fast after that, although Cloud 9 has some really good tunes mixed of course with filler, and Brainwashed almost doesn't exist to most Beatles purists which is a real shame because I think it's maybe his 3rd best album. I'd love to hear your thoughts on it.

I guess you had to be there in 1970. We were hungry for anything “Beatle” at this point. That said something about this album stuck a chord with a 14 year old me. So much so, I have collected several variations of cd, Cassette, 8 track and the reel to reel. Not to mention multiple variations of the Lp as released over the years. I agree there’s a few songs that aren’t that great but none that you listed and none I would ever skip over. I Love Wah wah, Art of dying and I dig love. All that said your review was a sobering and honest look at a record I’ve loved for 53 years and counting. Never saw that connection with Peter Paul and Mary or Humble Pie.

"George already had a wall of sound. It's called 'musicians.'"

You make some good points about this album. However, I love “The Art of Dying”. :)

I'm glad you mentioned "Hear Me Lord" because it's a gem not frequently discussed! I was hooked on it so much at a time that I was hearing it in my head being played even in my sleep!!! Too bad that its live "Bangladesh" version is still in the can! It would also fit the 74 tour perfectly, even sung with his raspy voice! But he did not include it, unfortunately. As for "All Things Must Pass", I cannot really count the different copies I have of it, definitely more than 10, including 5 different versions of the 50th anniversary releases! Thanks for the review...

What serendipity. I just got an OG US box Set last week and I thought it sounds good. I'm already familiar with this album having listened to it via streaming. Owning this box set now, I can say this is one of those albums that one have to experience on vinyl. I agree with the 3rd disc but it's hard for me to cherry pick and whittle the album down to single disc ( a la White Album debates). Listening to the entire album all the way through, I had this impression that after 2 discs of serious, heavy themed songs, the 3rd disc is where the musicians let their hair down and have a party. Still not essential, though. The recent anniversary box set had more outtakes though, and I wondered if George spent a few more months working on a 3rd disc of proper songs how it will sound. If you're gonna go big, go big, right?

Great review! Refreshing take on some of the motives behind the albums length. None of The Beatles could claim the high ground w/r to plagarism- I was shocked hearing the similarities between John's 'God' and Ketty Lester's 'Love Letters'🫣

I love when Matt does these Beatle/solo album reviews. With others too, but by himself is always more concise and to the point. Great job!

I agree about Beware of Darkness being one of his if not THE best songs. Oddly enough I enjoy listening to the rough demo over the final produced track. The song is unfinished and includes the non sequitur "Beware of ABKCO" line , but I like the "pushing you in puddles" line, which I wish he left in the final track. The vocal on the demo has more emotional intensity, but both are still great.

This album stands up today just as when it was released. Is it perfect? No but I still play it to this day. Can’t say that about any other solo project from the fabs. I accept the dogma of praise!

All things must pass is something special and very unique, so much so I will list here the various releases I have in my music collection. 1: 1988 cd fat box Uk release. 2: Japanese HMCD cd box. 3: 2001 remaster fat box and digipak. 4: 2014 cd reissue. 5: 2021 target limited edition with sticker pack. 6: 50th anniversary 5 CD super deluxe boxset. 7: 50th anniversary splatter vinyl. 8: super deluxe 8 LP vinyl deluxe boxset. 9: Uber crate box. 10: 1970 UK first pressing vinyl. 11: 1970 Canadian first pressing. 12: 1970 EMI Australia triple gatefold sleeve. 13: 2010 40th anniversary reissue x 2. 14: 2017 vinyl boxset reissue. 15: 2001 vinyl remaster. Plus various bootleg and session outtake CDs. A bit obsessive perhaps😊

There’s a great video in you ranking all of the Beatles solo work and then maybe a fan ranking after. I completely respect your critique of all things must pass and would love to see what you put over it. I have all things must pass at number one but I also think I’m in the minority of people who really enjoys what the wall of sound does on this album. Another good idea for these type of videos is to make a “give your own review” post on your community page here and then go over some comments at the end of your review videos. Not trying to be too picky though, really love you vids and I could discuss Beatles all day.

The day All Things Must Pass was released, I went with several friends to a girlfriends basement to listen to it. We all really liked it but I found that over time I've listened to it less than most other albums, Beatles or otherwise. One thing to consider Matt, the long outro to songs such as, Isn't A Pity, She's So Heavy from Abby Road and many other songs wasn't just a Phil Spector thing, it was popular back then as a way to enhance the experience of being stoned. As I've mentioned at other times, during that period, the music was made by freaks for freaks. The Beatles may have had a wider audience than most other groups but the production of George's songs shows that he was less concerned with appealing to mainstream culture, AM radio listeners, than he was in making music for those who were into the same things in which he was.

11:54 It was the 2000 remaster and the augmented demo of "Let It Down" that convinced me it was a beautiful song. As George said around that time "it's quite good, but it's very big. If I could, I would reduce the studio sound down a bit." The 2020 remix definitely helps the sound of the album version, of course.

The original box set also came with a roughly two by three foot poster of George. I remember when I first opened the box set when it first came out and saw the folded poster. The catch is, the roughly square foot section that I first saw was solid dark brown and I said oh, oh. I was hoping for some neato poster of George and so far, it was just solid dark brown. In the end, it was an ok poster but I was hoping for something better.

All Things Must Pass is one of those records that I've just about worn out, over decades of listening to it - so interesting and thought provoking to hear your review and perspectives! It makes me feel like I'm listening to a beloved album for the first time again, which is something magical

In a way, Dylan and Harrison did team up for an album -- two, in fact. There are other people on it as well, but it's definitely the two of them very much working together.

I still have my original copy-it has been my favorite solo Beatle album-thank you for your comments.

Great breakdown of the album and I agree with most everything you said other than I may like Let It Down a little more than you. As far as the lawsuits, I wanted to mention a couple of things. George maintained that he based My Sweet Lord's melody on Oh Happy Day which is an old hymn that had been a hit for the Edwin Hawkins Singers in 1969. In listening to them it sounds a lot like My Sweet Lord. I tend to believe George as it was recently a hit and it is a religious song that George would probably be very interested in at the time. Possibly He's So Fine took its melody from Oh Happy Day. In any case, being that it was in the public domain I don't see why Harrison lost the case. For me, too many similarities and as far as I'm concerned both He's So Fine and My Sweet Lord are ultimately derived from a much older public domain source. And the song Stewball is also an old traditional song so Lennon couldn't be guilty of copyright infringement being that it was in the public domain.

I absolutely agree. There is no reason to have 2 versions of Isn't It A Pity - just choose the best take and tighten it up - no need to make it like a Hey Jude refrain going on and on. The whole thing should've been stripped down with no mush, and no Apple Jam disc! And you're right, there is a glow over his career work where they elevate George almost above all the other Beatles - I think Living in the Material World is a boring album but many fans seem to think it's almost right up there with ATMP. His '70s records after ATMP I think were terrible.

I’ve always found Beware of Darkness to be his finest composition (although Something is a better track, due to the Beatles’ work). Not just the lyrics but also the music, with this colorful, slightly dissonant set of chord changes that work thanks to the way the melody seamlessly weaves in and out of them. I entirely agree about the overblown production and excessive runtime somewhat tarnishing some of the compositions and perhaps not getting their full potential. One way to look at it is that Old Brown Shoe, a very similar song to anything on ATMP, could have been an overblown upbeat track in the mold of Art of Dying or Wah Wah. But the Beatles elevated it from a decent George song to a great track because of their arranging skills, musicianship (esp. the drum groove and George’s 8-bar lead) and production values. This is the reason I put something like “Isn’t It A Pity” in my wish list of Beatles songs. Not because it’s George’s best song, but because I’m trying to think of the potential it had to be a timeless classic track if the Beatles had put their magic touch on it. But I don’t put “Beware of Darkness” in that wish list because I love it so much for what it already is (even though the Beatles probably would have made it a masterpiece too).

I think in the My Sweet Lord plagiarism case, people miss the Oh Happy Day component. George said he thought he was ripping off Oh Happy Day. It was in public domain. Only problem, Bright Songs had already ripped it off with He's So Fine, which they had the copyright for.

George's slide playing was beautiful, lyrical, distinctive. In NO way 'bubblegum'. And, other bigtime guitarists adore that aspect of his playing (just read the guitar mags.)

I've been a huge Beatles fan since I was a little kid, but it was not until I was an adult that I first listened to "All Things Must Pass" beyond the big singles, "My Sweet Lord" and "What is Life." Knew there was a lot of hype surrounding the album. It was a mixed experience listening to it at such a remove from when it came out. There are several very good tracks that I was not familiar with. But, as you point out, there is more than a little filler on the album. So your effort to recalibrate the scales of criticism for this album is well taken. The story of "My Sweet Lord" is very interesting. Its resemblance to The Chiffons "He's So Fine" is unmistakeable. But there is a reason why Harrison might not have realized the connection, an area you didn't delve into. Harrison would later say that "Oh Happy Day" by the Edwin Hawkins Singers was his main inspiration. Listening today to "Oh Happy Day," which was a huge international hit in the late 60s, you can see why. The feel is very similar, though the melody is a little different. Harrison, of course, was repurposing gospel music from its Christian roots for more Hindu/ecumenical messaging. You can really hear the gospel roots of "My Sweet Lord" come through in the well done Billy Preston version that came out earlier in 1970 and on which Harrison played. (Preston's 1970 "Encouraging Words" album holds up very well and shows what the possibilities of Beatles compositions in the hands of someone who was a native soul musician). The Chiffons' 1975 cover of "My Sweet Lord" is pretty good too. Finally, you were a bit rough on Harrison's slide guitar playing. You says that no guitar players emulate Harrison's style. I don't know that to be true, but even if true I am not sure you are drawing the right conclusions from that fact. Some people have a distinctive style that other musicians leave alone. They do so for a variety of reasons: it's hard to replicate well, or out of respect, or to do it themselves would seem derivative since it's so identified with a particular player. I'm thinking of B.B. King's distinctive lead guitar playing. I'm sure there are folks who try to closely mimic King's guitar playing, but I don't see it as widely copied, except perhaps in odd precincts of the guitar world. For a critical appreciation of Harrison's slide playing, I would want to hear from some authoritative sources. To my ears, his playing can be a bit too syruppy, but sometimes it is just what the doctor ordered. (For instance, I really like his slide playing on "Handle With Care," his great Traveling Wilbury's song). My understanding is that Harrison's slide playing stands out because he was so immersed in the sitar and Indian musical composition. I do agree that it would have been nice for Harrison to keep working on his lead guitar chops post-Beatles. Instead, he generally left such stuff to Clapton and other gunslingers. That said, Harrison had to work hard to justify being The Beatles' lead guitarist, especially with the able Paul McCartney so close and so eager to set down his Hofner and give the guitar a try. Harrison's best lead work tended to be carefully worked out and undoubtedly was the product of prodigious effort on his part.

26:37 Another thing to note, of course, is that outtakes from the ATMP period (and earlier Beatle-era tunes good and bad) kept appearing on his later albums. "Beautiful Girl" and "Woman Don't You Cry For Me" (the latter I didn't know until... you guessed it, the 2020 box set. I am impressed in George's ability to turn a bluegrass song into a mild disco number) to name a few... from the same album. "Not Guilty," "Circles," and "Rocking Chair In Hawaii" are a few more I remember off the top of my head. He had a few more in demo form during that period too that he never put properly to record.

Great take overall. Handful of places I differ: - I like the bubblegum sound of his slide playing because it’s juxtaposed with non-bubblegum music. The effect is to add charm. - Flyte is a current Harrison-influenced band that sometimes emulates that slide sound - try “I’ve Got a Girl” (the slide part starts around 1:40). - I think “Wah wah” is underrated. I dance around to it, and it’s on my exercise mix. The sound may be excessively cacophonous, but it makes the track feel like a party, so I would have wanted it pulled back only like 15%. - I don’t understand the bit about the wall of sound not working well when there’s a band. A group of musicians was playing in both instances. Maybe a better way to put it is the sound of each instrument was much thinner in the early Spector days, so when the differentiation was reduced, there was a better effect than when each instrument already sounded thick on its own? - I never fully understood the appeal of “Beware of Darkness.” I went back to it after this video and appreciated it a little more, but to me, the melody is meandering, and the arrangement (and George’s voice) are not dynamic enough to make up for it. (Plus, what’s a falling swinger?)

This is a great analysis as always, Matt. Thank you! I decided to skip the ‘Apple Jam’ section of the video, just to be consistent.

This album came to me at a very special time in my life, so it has those feels for me. To this day, it's one of my go-to records to listen to if I need to calm down. Funnily enough, I heard the solo version of the title track by George on Anthology first--which is still my favorite version of the title track because of how pure and raw it feels. From there, I dove into the Beatles' solo work. There's so many tracks most people miss that I love on this album: "Behind That Locked Door," "I Live For You" (from the 2000 remaster), and "Run Of The Mill" are some of my favorites. I still love "My Sweet Lord" and "What Is Life" but that may have been worn down by overplaying over the years. Spector did more harm than help on the record. Sometimes the echo and over-arranging works, a lot of times it doesn't. George himself was loathe to revisit ATMP during the 2000 remaster because of how much echo was baked into the tapes. The 2020 remaster is a MUST HAVE for the simple reason that the original mix sounds extraordinarily muddy, which I chalk up to Spector. Dhani and the gang did an excellent job cleaning the tapes up and making the mixes pop (which is more than I can say for the Giles remix of the White Album, which is ruined in many ways). That said, yes, the arrangements are starting to edge on monotonous. George just wanted The Beatles+Horns & occasionally Strings, which is really what's going on here. This album still has that Beatle magic of spontaneity and trying everything to put that something extra into a song (one of the gems of the remix is realizing how much George pulled out the Moog, for example, and otherwise threw a neat little thing here and there into the mix). For 1970, it was fairly innovative... but George would never reach this height again. As I've said elsewhere, it's already evident here that George had a specific mind of what he wanted out of a song and in later records, he would stagnate hard.

Great observations Matt! 👌 Isn’t it a Pity is my all time favorite ❤️

We were in the Army in Germany when this was released. Played it once; put it on a shelf, then put Led Zeppelin III(released the month before) on the turntable and cranked it up...All my buddies agreed: Much, much better. It didn't hurt that we were smoking the 'Best of the Becaa Valley' at the time...Frankly, it was a complete and utter slog through the album. The production and mix were horrible, even for the best stereo systems of the time and we had the high powered Sansui systems with huge bookshelf speakers bought from the base PX. Should have been a single LP.

Another interesting, enjoyable review, Matt! I rank this album pretty high as well (even with that 3rd disc). It does feel though, with this album, that George was possibly trying to set himself apart from his former band (with production, length, playing style and number of musicians), in a grandiose way. The roster of talent assembled here is often wasted or lost in production, but the songs are still some of his best. I have to admit, I’m now curious of what you’ll be saying about “Dark Hoarse”😄

I think the over the top production was exactly what that album needed. I also think it was the right decision to have those "filler" tracks and apple jams on there, because it adds to the larger than life vibe; this makes it unique in harrisons catalogue, which sometimes can be very dry, sparse and in its worst moments joyless; a stripped back ATMP would be a lot like "Living In The Material World", which is a great album as well (at least for me), but why should he have done the same thing twice in a row? A single-album ATMP would have been a stellar masterpiece of course, but the crazyness of that triple release is what makes it that mythical juggernaut amonst the beatle-solo albums, and is why many consider it the #1 solo-album, so also in hindsight right decision by Harrison (and Spector) Anyway: great review as always!

For me my favorite GH album is Dark Horse even though many said it was his nemesis. Love him for experimenting with jazz with Tom Scott.

I wished there was a demo of Isn't it a Pity from 1966. That would be sweet

Thank you for an honest and thoughtful opinion. Great analysis of production technics and possible alternative sonic exploration. There was a chance, now lost, to amend and strip down the production with the 2021 Super Deluxe.

I wonder how much our childhood and early-life memories color our impressions of music we heard in those times. All Things Must Pass played a lot in our house through the 70s. I associate every song with something happy from childhood, so I can't hear the "overproduction" as anything but joyous. And that goes especially for Wah Wah, which would be in my top 3 song on the album. Is that the "happy memory" effect? Well, Red Rose Speedway and Venus & Mars were also on our turntable a lot, and I barely recall a note from those discs, while Band on the Run brings back the same feelings as All Things Must Pass. So, there must be something great about the music in the first place. I think you underrate this album quite a bit Matt. I'd be curious to know what was happening in your life when you first heard the album, and if that could have colored your opinion.

No doubt the best solo effort from any of the fab four. Yes there were a couple of fillers and the production was a bit muddy in a couple of the numbers. But the best songs (you mentioned them all) are just sublime. Once again a great video. Thanks.

I've always had the impression that George's slide guitar style has been influential. Before "All Things Must Pass," slide guitar in general had been more bluesy, less melodic. Two examples off the top of the head of tracks where I hear his influence are America's "Sister Golden Hair" and Bruce Springsteen's "Man's Job."

I couldn't agree more, Matt, that the album could have/would have been well served by a spare, Plastic Ono Band type approach. It would have let the songs, melodies, and above all, emotions, speak for themselves. Agree 100% about your valuing of the lyrics. Yes. Let the songs breathe, let us hear the lyrics. And the spaces between the lyrics. I mean, truly, I'd have loved for this album to be adapted as a Beatles production, in the "Get Back" style. Room of course for George to shine and do what he wanted, yet with timely, apt, and tasteful contributions from the others. And short of that, I'd have preferred a quieter, more intimate production. Something akin to the sound of "Long, Long, Long" (which is one of my favorite George songs, and one I think is tragically unsung). Anyway, thanks as always your hard work and the conversation!

George is my favorite Beatle, and I like more of his solo work than any of the others. The genres he focused on just gelled with me the best i think. But even if the album has problems, I still believe it is the best Beatles solo album. I just can’t compare it to anything the other three did. It really was George spreading his wings even if maybe the whole thing wasn’t stockpiled songs, and it’s beautiful. ❤

The Apple Jam disc is similar to the Rascals' "Music Music" disc from their 1969 album "Freedom Suite." It's basically a bunch of musicians jamming and going nowhere. If you want good jams, you have to start with great songs. Songs like "Whipping Post" or "Eyes Of The World." That said, I don't think there is much filler at all on the first two discs, and "Wah Wah" is among my favorite George songs ever. I like the overproduction.

Love your reviews! Could listen to Matt for hours 🙂

I just heard this album for the first time recently, and was blown away

Great review Matt. I tend to agree. On an overall basis the album is held in higher esteem than probably warrants.

What it really comes down to IMHO is the Songwriting. That is the forte of The Beatles legacy. The Songwriting on this is stunning. No clunkers for me. As an Atheist I should actually not like a fair amount of the lyrics. Although I do enjoy the occasional digs at Catholicism. Even so, this is a Songwriting bonanza. I also rate Harrison as one of the best and most creative Slide Players. Certainly the most melodic. His gift for Harmony on Slide and especially Vocals is second to very few. Art Of Dying is one of my favorites on the Album. The lyrics are so poignant.

Interesting video Matt. I've personally never had an issue with the production (but maybe that's because I'm British 😉) and for me I Dig Love is the only real filler track on the first two LPs, but I can understand your reservations. I'm not sure it would be my #1 solo Beatle album either. To add to your point about songs ripping off other songs, and specifically about your inclusion of the Humble Pie song, there's a song on HP's first album called I'll Go Alone, the intro of which is a straight lift of Communication Breakdown, just played at half speed, something that I'm surprised isn't mentioned more often. Still, goes to show it happened (and still does) all the time - good artists borrow, but great artists steal, as I believe Bowie once said.

Great analysis! I fully agree with you - it's a great-but-flabby double/triple set. If it would have been a single album with the six songs you ranked highest (What Is Life is my favorite and it's the one song that Spector's production actually helped), plus some of your second tier songs, it would be the best of the solo albums with minimal debate. Also - fine choice of adult beverage. I recently acquired property in Wisconsin and now have full access to the New Glarus cult.

Hi Matt - I didn't really take notice of "ATMP" until its re-issue in 2001 and was very pleasantly surprised at how good it was; I think I resisted it because it was a triple album and so beyond my pocket for many years, and the original LP looked very dour to me ! For me, this would have been an amazing double album. I never understood the reason behind including the Apple Jam tracks back in 1970 yet their inclusion on the double CD in 2001 seemed to be the perfect outtakes. The track that really stood out for me was "The Art Of Dying" although the best song on the album is "Beware Of Darkness" in my humble opinion. Cheers Tim

You've had some hot takes before, but putting "Art of Dying" "if Not For You and "Behind That Locked Door" in the filler section is reaching levels of hotness that scientists never thought possible.

Wah Wah rocks! I just wish there was a clearer mix of the song

At the time the album was so good. I think because we always got a track or two from George on Beatles albums. Sometimes those tracks were better or as good as any if the Lennon/McCartney songs on the particular record. So in general we always wondered what a solo record of George could be. When it came out is was very welcoming to the public. The songs were very strong, over produced yes but well written and thoughtful. Like you said 12 of the songs were really good. A single album less produced would have been epic. He was never going to be Page or Clapton or any of the other top guitarist of the day but his guitar was sweet, tasteful, minimum. His guitar was the Beatles sound so he never needs to apologize for that. To be one of 4 of the most famous and loved musicians on earth is pretty heady stuff. How they stayed as grounded and decent as human beings (though not perfect) still is amazing.

I think there was an unwritten rule in the music business that you didn't sue over similar chords or lyrics, because everybody did that. Led Zeppelin's first album being an infamous example of musical plagiarism. The "My Sweet Lord" lawsuit could have set a precedent but didn't.

Excellent review, Matt. I agree with your assessment.

I actually love Wah Wah. Wah Wah is an in your face rocker of a song. I didn't mind the Apple Jam portion of the album. I think the reverb makes the album stand out. It's one big sound.

Excellent piece Matt. Isn’t it a pity version 2 is much better. It’s only 1/2 as long. Phil must have been sleeping one off that day!

A testimony to the greatness of the songs on ATMP is that each song overcame the excesses of Spector’s wall of sound. Regarding the overall product, as a lead guitarist, I used to play Apple Jam as background to whatever I was doing. I loved it. My only disagreement with your take is Art of Dying. Bobby Whitlock said that it could’ve been Derek and the Dominoes…it was that good. Even more than the driving nature of this song are the words. I am not a reincarnation kind of guy, but if I were, this song could be an anthem for that belief system. The poetry and underlying meaning is simply amazing. If you’re not into Claptonesque stylings with reincarnation themes, I get your dismissive reaction. For me, the song is a masterpiece.

Very accurate and good review, Matt. Over time, having known the album since it's release date, the "preachy" aspect of some of George's songs has worn thin on me, also a product of the time. Interestingly, in the past, like so many others, I would skip the "Apple Jam" disc, but in recent years having developed more of an interest in solo instrumental guitar artists, I've been giving it more of a serious listen. You didn't mention the 2020 remix which, in my opinion was a bad attempt to "modernize" and "de-Spector" the album. It merely pushed all the instrumentation to the background and pushed George's vocals out front.

Great video Matt. nice to see a more balanced review of this record. I do love it and it’s my favorite album from George but it definitely is overblown at times. Have you heard the bootleg The Making of All Things Must Pass? It has several albums tracks without the echo and sounds much dryer. I actually prefer the original mix after hearing them. Thanks for sharing

I'm so pleased to find someone who shares most of my views about this album; I wasn't previously aware that anything less than uncritical adoration was allowed. Whilst I fully respect the opinions of its devotees, I don't understand the extreme levels of reverence it attracts. To be clear, there is some excellent music here but it is way over-produced and there is too much filler. My personal opinion is that it benefitted hugely from being first out of the traps post the Beatles' break-up. There, I said it.

George and the lads worked over 60 hours in Abbey Road on single All Things Must Pass. P & J were helpful and encouraging. Clapton and his Dominos were fab on the triple album, then primed they did Derrick's masterpiece album the next year. Matt, George wasn't depressing... he was real. God I just adore Every song on this jewel.

Two things: 1. All Things Must Pass is as good as any Beatles solo album. 2. Harrison and Dylan DID do an album together. It was called Traveling Willburys (ok, I realize there were others involved as well…)

Just for fun, here’s a single LP version Side 1 - My Sweet Lord, Wah Wah, What Is Life, Behind That Locked Door, Let It Down, Run Of The Mill Side 2 - Beware Of Darkness, Apple Scruffs, Ballad Of Sir Frankie Crisp, All Things Must Pass, Art Of Dying, Isn’t It A Pity

An interesting overview. Although I am a big George fan, I think you make some fair points here, and certainly there is no excuse for the third album of the set. As it is, the releleases have shown that he did have some quite strong songs that never made it onto this or any other album. As for his guitar playing, I like his style. However, and perhaps I'm alone in this, I think the rawer style that can be heard on the Dark Horse album, on some tracks, is something he could have worked on. Whilst I agree that the critical consensus on All Things is overblown, I think that the negative consensus on Dark Horse should be revisited.

I have only heard the album once. Some good songs as I remember. I never picked up a copy because it was/is expensive. One reason for the amount of songs was I think the publishing royalties. I think he wanted to catch up a bit with Lennon and McCartney and get rid of the backlog of songs he had accumulated over the Beatle years. I have read that “Isn’t it a pity” was written round the Revolver period and rejected by the band for that album. Is that true? I’ve often wondered. If it is true it would certainly change a lot of peoples perceptions of George Harrison because it’s a brilliant song in my humble opinion. George is my favorite Beatle, there was something special about him which people who knew him have always stated. For example, he financed the great movie “Life of Brian” - now that was visionary. He was more than a Beatle for sure. Another great video Matt. I’m just wondering Matt, would you ever consider doing a video/review of The Walker Brothers and/or Scott Walker’s 60’s solo albums up to 1970? There are some classic albums in there, I don’t know if you know them. All the best.

This is a very fair review. I wonder if many of the original reviewers had bothered to listen to the whole album, because it runs out of steam by side 3 and was never a worth a triple disc. I love the songs, but it should've been a 10 track single disc, with some tracks held back for a new release in 71/72. The production makes some tracks feel dated (Art Of Dying) and others overblown (Wah Wah), while Isn't It A Pity should be shorter and just have one version. But there are so many gems, so it feels wrong to complain- the joy of Apple Scruffs, the hypnotic feel of Frankie Crisp, the spirituality of Beware of Darkness and the simplicity of Behind The Locked Door. The album reflects the mood of 1970, with uncertainty and some hopeful optimism for a new decade.

I do recall when it came out (ouch) and a relative bought it but only allowed me a brief listen.. We'd ignore the obviously superfluous third disc as a sort of well meant 'bonus' . I didn't get to hear it 'properly' until i took a listen on KZfaq recently. I'd favoured Beware of Darkness' over the rest but...lots of good stuff. But i guess given his backlog we keep reading of, it would be like John and or Paul being able to at last release the best of a unreleased three album backlog also! Strictly speaking solely on level of writing John' was and still is the best of all their solo albums as far as writing quality and substance goes...or is it? After all George's Krishna thing was was heartfelt as John's 'real' feelings that had been boiling under behind the fab moptop mask? Or so the writings generally seem to say...Paul's stuff I guess was seen as the usual none heart on the sleeve stuff...but i reckon it was more 'rebellious/subversive' then to NOT try and be cool and 'right on'? Just a thought. I seen Paul's songs about family over trying to be 'relevant' as the perfect two fingers to the pretentious 'authenticity' bull of the era. You know, millionaires coming on like working class victims? while sporting an estate the size of a small suburb to get lost on? But...in the end its all in that voice, right? None of them could touch John's voice and what it contained better than any actual songs or whatever...er...maybe But its why his stick better in the ears. I'm sure Paul didn't pursue John to his dying day out the goodness of his heart. He knew the quality of being around even, gave the work, even if John was sulking un necessarily in the control room lol over the vastly inferior Macca. With his follow up, George showed he could actually knock it out in real time? Also came across as by far the best producer of the three. Also it became obvious they all had far more to do with each others songs than was ever admitted to during the Beats rule/cult? Alas though, he couldn't sustain it for long and i suspect was soon seeking out the Wilbury's to take the weight a little as it was no longer feasible given John's demise, to get back to only having to knock out a few tunes an album. Ironic i guess...but...

I don't recall where, and I might be slightly mistating (though I'm getting the gist right), but somewhere I read that Spector's wall of sound production worked well in the era of the transistor radio and low-fi equipment, but once equipment improved and the listener could better hear the separation of instruments it was no longer of such value.

The noose that has always been used to string up "All Things Must Pass" has been that third platter which fair play I believe was a product of it's time, in addition to the type of freestyle music that George Harrison was surrounding himself with the likes of Delaney and Bonnie. That aside, I feel that the credit the album has gotten over the decades is appropriately bestowed. Again and again it's been stated that it's the one album by an individual Beatle that can punch it's weight alongside the group efforts and I've heard nothing on the first two platters to dissuade me from that notion. The Phil Spector production while arguably ham-fisted is no more intrusive than the production on other classic albums such as The Beach Boys' "Pet Sounds" or Bruce Springsteen's "Born To Run". If anything the production on the record made the liberation of the tracks from that wall of sound on some of the alternative versions included on the box set more revealing and thus infinitely enjoyable to listen to when compared to the usual fare as it pertains to these sorts of things. Speaking of the box set, a cursory listen to Harrison's composing demos for the record reveal that as a writer he clearly reached a level on this album that he would never again equal. Some of that was likely due to the backlog of material he had to draw from, but it's equally undeniable the quality of the songwriting on this record. While there can certainly be debate about which selections were included versus which were not ("Beautiful Girl" anyone?), given that Harrison came from The Beatles' school of variance where albums, unlike singles provided room for deviating tempo and style, it's hardly unsurprising that "All Things Must Pass" presents a venerable hodge-podge of material on it's palette. That said, third platter aside there is nothing necessarily intrusive about the record that takes the listener out of the moment or experience of enjoying what is no doubt an all time classic album.

Excellent job Matt! You hit so many talking points right on. I only disagree with you on a couple songs that I like more than you. No issue. Great presentation.

13:56 Apple Jam... yeah, I only really came to appreciate it when I got into superfluous 21st century post-rock space rock psychedelia (where 10 minute songs are the norm)... That is, I like a long jam for its nothing-burger tone it out and work on things quality. This really doesn't say much for the disc. I'll put it on if I'm on a road trip. Considering all the lil gems he had that could've been developed into songs ("I Live For You," "Woman Don't You Cry For Me," "Rocking Chair In Hawaii," etc.), he could've lost a few on the main album and slid in a few there and kept it "George Harrison's New White Album" instead... I think there was just a bit of the bravado of "hey, I'm an ex-Beatle and Imma do a TRIPLE ALBUM nobody's done that before!!!" or, as you say, belief that everything he put to tape was good.

Matt, this was a very interesting review of George Harrison's "All Things Must Pass" album. In my opinion, you have the best music channel on KZfaq and it is always a pleasure to hear your viewpoints on music. 👍

As far as the production, they did a remix of the album in 2020 with the original reverb and production techniques stripped/minimized on many songs. I thought it was much better.

I only recently discovered Pop Goes The 60's. I have been enjoying it very much. I thought this assessment of All Things Must Pass was quite refreshing.

The older that I get the more that I love George ...pretty sure he has become my favorite

This is a great video. Please review more Beatles albums.

I liked Harrison's "stripped back" version comment so maybe someday we might be offered the tracks to a walked back version with just the musicians in the room in a production. Apple keeps reworking the reissues...this would be a valid effort for me to relook at the possible depth of George's songs. I still do love the way you listed the best of this album. Hard to walk away from this album it does give to a benchmark to appreciate his songwriting. And of course, out of it came Derek and the Dominos whose members came together as backups during this album...ot a bad spinoff.

I enjoyed your review, this is a fine album. when you mentioned my sweet lord and the chiffon's he so fine there were other bits of copying other peoples songs. for instance, john used a line from chuck berry's song you can't catch me for his song come together. years later morris levy the owner of roulette records tried to sue john. Chicago Transit Authority had a song on their first album called south california purples in which the first line of I am the walrus was used in the song.

Fully agree. When I bought this on release, I couldn’t get into it like the mainstream. Every time I tried , I liked it at the beginning but started to get bored because the songs were completely drowned out by noise. Some songs which may have been good were overwhelmed by the cacophony. I believe a more bare production would have helped me to enjoy it.

This was a very astute and interesting commentary, and I found that I agreed with many of your points, but that I never really realized it until you said it out loud. On a sidenote, I can’t tell you why, ?? but it’s very gratifying to watch the LP spin on your turntable while hearing the music. Keep it up. It brings the listener in and of course brings back that visual connection to playing a record. One disagreement: I have really warmed up to Wah Wah. I think that the production suits the song, and that it takes on a life of its own at George tribute concerts. Isn’t it interesting that so many of his songs lend themselves to beautiful covers? But I think the most special of all of his songs is certainly beware of darkness. I’m with you on that.

Little known fun fact: Spector was on that famous flight from England to the US in Feb. 1964 when The Beatles came for the Sullivan show. Extremely scared of flying, he figured odds were in his favor with them aboard.

A fascinating review.

Ever noticed looking through an old vinyl copy of ATMP to see the Apple Jam disc in NM condition. Nobody plays it

I’d say if you condensed all things must past into a single album it would clearly be the best Beatles solo album but I still rank it as the best debatably. I like how it’s hard to choose the best Beatles solo album. The fact that there isn’t a clear winner really shows how much each member was bringing to the band as a whole.

All Things Must Pass, the album, came out in the seventies. The title song was recorded for the album due after Get Back, along with Junk, Teddy Boy, etc.