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All Things Must Pass
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gn Records / Capitol Records CDP 7243 5 30474 2 9
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.
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 Music’ which were instrumentals).
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 it 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 time 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 allegedly played congas on ‘The 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. Thank 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.
All lyrics © for world by Harrisongs Ltd.
All titles published by Harrisongs Ltd. except:
*It’s Johnny’s Birthday © Al Gallico Music
Produced by George Harrison and Phil Spector
The following musicians contributed to this album:
Drums & Percussion:
Ringo Starr, Jim Gordon, Alan White
Bass Guitar: Klaus Voormann, Carl Radle
Keyboards: Gary Wright, Bobby Whitlock, Billy Preston, Gary Brooker
Pedal Steel Guitar: Pete Drake
Guitar: George Harrison, Eric Clapton, Dave Mason
Tenor Saxophone: Bobby Keys
Trumpet: Jim Price
Rhythm Guitars & Percussion: Badfinger
Fender Rhodes & Backing Vocals on I Live For You* and
Acoustic Guitar on My Sweet Lord*: Dhani Harrison
Tambourine on My Sweet Lord*: Ray Cooper
Additional Lead and Backing Vocals on My Sweet Lord*: Sam Brown
(Sam Brown appears courtesy of Mudhut Records)
Mal Evans: Tea, Sympathy and Tambourine
And introducing the George O’Hara-Smith Singers
Orchestral arrangements by John Barham
Originally Engineered by Ken Scott and Philip McDonald with thanks to Eddie Klein
Engineered in 2000 by Ken Scott
Remastered by Jon Astley
Redesign and Art Direction: Sian Rance & David Costa for Wherefore Art?
Original Photography: Barry Feinstein
www.allthingsmustpass.com
All lyrics © 1970 for world by Harrisongs Ltd. except:
** All lyrics copyright 1970 by Big Sky Music
*** All lyrics copyright for world by Harrisongs Ltd./Big Sky Music.
All lyrics reprinted by permission.
All titles published by Harrisongs Ltd. except:
** Big Sky Music
*** Harrisongs Ltd./Big Sky Music
Digital remasters (P) 2001 The copyright in this sound recording is owned by EMI Records Ltd. *Except ? 2001 The copyright in this sound recording is owned by George Harrison under exclusive license to EMI Records Ltd. (P) 2001 The copyright in this compilation is owned by EMI Records Ltd. Artwork © 2001 George Harrison under exclusive license to EMI Records Ltd. Manufactured by Capitol Records, Inc. Printed in U.S.A.
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 it 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 time 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 allegedly played congas on ‘The 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. Thank 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
_____________________________________________All lyrics © for world by Harrisongs Ltd.
All titles published by Harrisongs Ltd. except:
*It’s Johnny’s Birthday © Al Gallico Music
Produced by George Harrison and Phil Spector
The following musicians contributed to this album:
Drums & Percussion:
Ringo Starr, Jim Gordon, Alan White
Bass Guitar: Klaus Voormann, Carl Radle
Keyboards: Gary Wright, Bobby Whitlock, Billy Preston, Gary Brooker
Pedal Steel Guitar: Pete Drake
Guitar: George Harrison, Eric Clapton, Dave Mason
Tenor Saxophone: Bobby Keys
Trumpet: Jim Price
Rhythm Guitars & Percussion: Badfinger
Fender Rhodes & Backing Vocals on I Live For You* and
Acoustic Guitar on My Sweet Lord*: Dhani Harrison
Tambourine on My Sweet Lord*: Ray Cooper
Additional Lead and Backing Vocals on My Sweet Lord*: Sam Brown
(Sam Brown appears courtesy of Mudhut Records)
Mal Evans: Tea, Sympathy and Tambourine
And introducing the George O’Hara-Smith Singers
Orchestral arrangements by John Barham
Originally Engineered by Ken Scott and Philip McDonald with thanks to Eddie Klein
Engineered in 2000 by Ken Scott
Remastered by Jon Astley
Redesign and Art Direction: Sian Rance & David Costa for Wherefore Art?
Original Photography: Barry Feinstein
www.allthingsmustpass.com
All lyrics © 1970 for world by Harrisongs Ltd. except:
** All lyrics copyright 1970 by Big Sky Music
*** All lyrics copyright for world by Harrisongs Ltd./Big Sky Music.
All lyrics reprinted by permission.
All titles published by Harrisongs Ltd. except:
** Big Sky Music
*** Harrisongs Ltd./Big Sky Music
Digital remasters (P) 2001 The copyright in this sound recording is owned by EMI Records Ltd. *Except ? 2001 The copyright in this sound recording is owned by George Harrison under exclusive license to EMI Records Ltd. (P) 2001 The copyright in this compilation is owned by EMI Records Ltd. Artwork © 2001 George Harrison under exclusive license to EMI Records Ltd. Manufactured by Capitol Records, Inc. Printed in U.S.A.
