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{{About|the album|the album's title song|All Things Must Pass (song)|other uses|All Things Must Pass (disambiguation)}}
{{Use dmy dates|date=January 2022}}
{{Use British English|date=March 2013}}
{{Infobox album
| name         = All Things Must Pass
| type         = studio
| artist       = [[George Harrison]]
| cover        = All Things Must Pass 1970 cover.jpg
| alt          = a black and white photo of George Harrison sitting on a stool surrounded by garden gnomes.
| released     = {{start date|1970|11|27|df=yes}}
| recorded     = May–October 1970
| studio       = [[Abbey Road Studios|EMI]], [[Trident Studios|Trident]] and [[Apple Studios (recording studio)|Apple]] (London)
| genre        = [[Rock music|Rock]],<ref>Moon, p. 346.</ref> [[folk rock]]
| length       = {{Duration|m=106|s=00}}
| label        = [[Apple Records|Apple]]
| producer     = * [[George Harrison]]
* [[Phil Spector]]
| prev_title   = [[Electronic Sound]]
| prev_year    = 1969
| next_title   = [[The Concert for Bangladesh (album)|The Concert for Bangladesh]]
| next_year    = 1971
| misc         = {{Singles
 | name        = All Things Must Pass
 | type        = studio
 | single1     = [[My Sweet Lord]]" / "[[Isn't It a Pity]]
 | single1date = 23 November 1970 (US)
 | single2     = My Sweet Lord
 | single2date = 15 January 1971 (UK)
 | single3     = [[What Is Life]] 
 | single3date = 15 February 1971 (US)
}}
{{Extra album cover
 | header  = Alternative cover
 | type    = studio
 | cover   = All Things Must Pass (2001) - Album_Artwork.jpg
 | border  = yes
 | alt     = a colorized version of the original album cover.
 | caption = Cover of the 2001 reissue
}}
}}

'''''All Things Must Pass''''' is the third studio album by the English musician [[George Harrison]]. Released as a [[triple album]] in November 1970, it was Harrison's first solo work after [[Break-up of the Beatles|the break-up of the Beatles]] in April that year. The album was released on November 27 1970 in the USA, and released three days later on November 30 1970 in the UK.<ref>{{cite web |title=Archive on 4 - All Things Must Pass |url=https://www.bbc.co.uk/sounds/play/m000pljn |publisher=BBC Sounds |access-date=21 December 2020}}</ref> It includes the hit singles "[[My Sweet Lord]]" and "[[What Is Life]]", as well as songs such as "[[Isn't It a Pity]]" and [[All Things Must Pass (song)|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 [[LP record|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 [[Abbey Road Studios|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, a pre-Yes Alan White, [[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 "[[Richard Wagner|Wagnerian]], [[Anton Bruckner|Brucknerian]], the music of mountain tops and vast horizons".<ref name=RS1971>Ben Gerson, [https://www.rollingstone.com/music/albumreviews/all-things-must-pass-19710121 "George Harrison ''All Things Must Pass''"] {{Webarchive|url=https://web.archive.org/web/20130428064752/https://www.rollingstone.com/music/albumreviews/all-things-must-pass-19710121 |date=28 April 2013 }}, ''[[Rolling Stone]]'', 21 January 1971, p. 46 (retrieved 5 June 2013).</ref> Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, ''[[Melody Maker]]''{{'}}s [[Richard Williams (journalist)|Richard Williams]] likened the album to [[Greta Garbo]]'s first role in a [[talking picture]] and declared: "Garbo talks! – Harrison is free!"<ref name="Schaffner, p. 140"/> According to [[Colin Larkin (writer)|Colin Larkin]], writing in the 2011 edition of his ''[[Encyclopedia of Popular Music]]'', ''All Things Must Pass'' is "generally rated" as the best of all the former Beatles' solo albums.<ref>Larkin, p. 2635.</ref>

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 "[[Rolling Stone's 500 Greatest Albums of All Time|The 500 Greatest Albums of All Time]]". In 2014, ''All Things Must Pass'' was inducted into the [[Grammy Hall of Fame]].

==Background==
Music journalist [[John Harris (critic)|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]]' [[The Beatles (album)|self-titled double album]] (also known as the "White Album").<ref name="Harris p 68">Harris, p. 68.</ref> At [[Woodstock, New York|Woodstock]] in November,<ref>George Harrison, p. 164.</ref> Harrison started a long-lasting friendship with [[Bob Dylan]]<ref name="Harris p 68" /> and experienced a creative equality with [[the Band]] that contrasted with [[John Lennon]] and [[Paul McCartney]]'s dominance in the Beatles.<ref>Leng, pp. 39, 51–52.</ref><ref>Tillery, p. 86.</ref> He also wrote more songs,<ref name="Leng p 39">Leng, p. 39.</ref> renewing his interest in the guitar after three years studying the Indian [[sitar]].<ref>George Harrison, pp. 55, 57–58.</ref><ref>Lavezzoli, pp. 176, 177, 184–85.</ref> As well as being one of the few musicians to co-write songs with Dylan,<ref name="Harris p 68" /> Harrison had recently collaborated with [[Eric Clapton]] on "[[Badge (song)|Badge]]",<ref>Leng, pp. 39, 53–54.</ref> which became a hit single for [[Cream (band)|Cream]] in the spring of 1969.<ref>[http://www.officialcharts.com/artist/_/cream/ "Artist: Cream"], [[Official Charts Company]] (retrieved 16 January 2013).</ref>

[[File:Wonderwall by George Harrison.jpg|thumb|left|upright=0.6|''[[Billboard (magazine)|Billboard]]'' ad for Harrison's ''[[Wonderwall Music]]'' soundtrack (1968)]]
Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles,<ref>Sulpy & Schweighardt, pp. 1, 85, 124.</ref><ref>Martin O'Gorman, "Film on Four", ''[[Mojo (magazine)#Special editions|Mojo Special Limited Edition]]: 1000 Days of Revolution (The Beatles' Final Years – Jan 1, 1968 to Sept 27, 1970)'', Emap (London, 2003), p. 73.</ref> 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.<ref>Leng, pp. 39, 55.</ref> His activities during 1969 included producing [[Apple Records|Apple]] signings [[Billy Preston]] and [[Doris Troy]], two American singer-songwriters whose [[Soul music|soul]] and [[Gospel music|gospel]] roots proved as influential on ''All Things Must Pass'' as the music of the Band.<ref>Leng, pp. 60–62, 71–72, 319.</ref> He also recorded with artists such as [[Leon Russell]]<ref>O'Dell, pp. 106–07.</ref> and [[Jack Bruce]],<ref>Rodriguez, p. 1.</ref> and accompanied Clapton on a short tour with [[Delaney Bramlett]]'s soul revue, [[Delaney & Bonnie|Delaney & Bonnie and Friends]].<ref>Miles, pp. 351, 360–62.</ref> In addition, Harrison identified his involvement with the [[International Society for Krishna Consciousness|Hare Krishna movement]] as providing "another piece of a jigsaw puzzle" that represented the spiritual journey he had begun in 1966.<ref>Clayson, pp. 206–08, 267.</ref> As well as embracing the [[Vaishnavism|Vaishnavist]] branch of [[Hinduism]], Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as [[Radha Krsna Temple|Radha Krishna Temple (London)]].<ref>Spizer, p. 341.</ref> In January 1970,<ref>Miles, p. 367.</ref> Harrison invited American producer [[Phil Spector]] to participate in the recording of Lennon's [[Plastic Ono Band]] single "[[Instant Karma!]]"<ref>Rodriguez, p. 21.</ref><ref>George Harrison, in ''[[George Harrison: Living in the Material World]]'' DVD, [[Village Roadshow]], 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).</ref> This association led to Spector being given the task of salvaging the Beatles' ''[[Let It Be (album)|Get Back]]'' rehearsal tapes, released officially as the ''[[Let It Be (album)|Let It Be]]'' album (1970),<ref>The Beatles, p. 350.</ref><ref>Spizer, p. 28.</ref> and later co-producing ''All Things Must Pass''.<ref>Schaffner, pp. 137–38.</ref>

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.<ref name="Hertsgaard p 283">Hertsgaard, p. 283.</ref><ref name="Spizer p 220" />{{refn|group=nb|In conversation with Lennon, Harrison remarked that he already had enough compositions for the next ten years of Beatle releases,<ref name="Spizer p 220">Spizer, p. 220.</ref> given his usual quota of two tracks per album<ref>Schaffner, p. 135.</ref><ref>Tillery, pp. 68, 87.</ref> and the occasional [[A-side and B-side|B-side]].<ref name="Hertsgaard p 283" />}} On 25 February, his 26th birthday,<ref>Miles, p. 335.</ref> Harrison recorded [[Demo (music)|demos]] of "[[All Things Must Pass (song)|All Things Must Pass]]" and two other compositions that had received little interest from Lennon and McCartney at Twickenham.<ref>The Editors of ''Rolling Stone'', p. 38.</ref><ref>Huntley, p. 19.</ref> With the inclusion of one of these songs – "[[Something (Beatles song)|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.<ref>Clayson, p. 285.</ref><ref>Lavezzoli, p. 185.</ref> He began talking publicly about recording his own album from the autumn of 1969,<ref name="Tillery p 87">Tillery, p. 87.</ref><ref>Clayson, p. 284.</ref> but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970.<ref>O'Dell, pp. 155–56.</ref> Included as part of the promotional material for McCartney's [[McCartney (album)|self-titled solo album]], this announcement signalled [[Break-up of the Beatles|the band's break-up]].<ref>Hertsgaard, p. 277.</ref> Despite having already made ''[[Wonderwall Music]]'' (1968), a mostly instrumental soundtrack album, and the experimental ''[[Electronic Sound]]'' (1969),<ref>Huntley, pp. 30–31.</ref> Harrison considered ''All Things Must Pass'' to be his first solo album.<ref name="Eds of RS p 180" />{{refn|group=nb|This is a view held by biographers Leng<ref>Leng, p. 82.</ref> and Joshua Greene<ref>Greene, pp. 179, 221.</ref> also, as well as by music critics John Harris,<ref name="Harris p 68" /> [[David Fricke]]<ref name="Eds of RS p 180" /> and [[Richie Unterberger]].<ref name=AllMusic>Richie Unterberger, [http://www.allmusic.com/album/all-things-must-pass-mw0000194979 "George Harrison ''All Things Must Pass''"], [[AllMusic]] (retrieved 28 April 2012).</ref>}}

==Songs==

===Main body===
{{quote box|quote= I went to George's Friar Park&nbsp;... and he said, "I have a few ditties for you to hear." It was endless! He had literally hundreds of songs and each one was better than the rest. He had all this emotion built up when it was released to me.<ref name="Olivia p 282" />|source= – Phil Spector, on first hearing Harrison's backlog of songs in early 1970|width=25%|align=right|style=padding:8px;}}
Spector first heard Harrison's stockpile of unreleased songs early in 1970, when visiting his recently purchased home, [[Friar Park]].<ref name="Olivia p 282">Olivia Harrison, p. 282.</ref> "It was endless!" Spector later recalled of the recital, noting the quantity and quality of Harrison's material.<ref name="MacFarlane p 72"/> Harrison had accumulated songs from as far back as 1966; both "[[Isn't It a Pity]]" and "[[Art of Dying (song)|Art of Dying]]" date from that year.<ref>Spizer, pp. 212, 225.</ref> He co-wrote at least two songs with Dylan while in Woodstock,<ref name="Leng p 52">Leng, p. 52.</ref> one of which, "[[I'd Have You Anytime]]", appeared as the lead track on ''All Things Must Pass''.<ref name="Madinger & Easter p 423">Madinger & Easter, p. 423.</ref> Harrison also wrote "[[Let It Down]]" in late 1968.<ref>Sulpy & Schweighardt, p. 8.</ref>

He introduced the Band-inspired<ref name="Lavezzoli p 186">Lavezzoli, p. 186.</ref> "All Things Must Pass", along with "[[Hear Me Lord]]" and "Let It Down", at the Beatles' ''Get Back'' rehearsals, only to have them rejected by Lennon and McCartney.<ref name="Eds of RS p 187" /><ref>Huntley, p. 21.</ref>{{refn|group=nb|"Isn't It a Pity" was another song passed over during these sessions,<ref>The Editors of ''Rolling Stone'', pp. 38, 187.</ref> having similarly been turned down, by Lennon,<ref>Sulpy & Schweighardt, p. 269.</ref> for inclusion on the Beatles' ''[[Revolver (Beatles album)|Revolver]]'' album (1966).<ref>MacDonald, p. 302fn.</ref>}} The tense atmosphere at Twickenham fuelled another ''All Things Must Pass'' song, "[[Wah-Wah (song)|Wah-Wah]]",<ref name="Harris p 72" /> which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969.<ref name=SLO3c>Leng, p. 85.</ref> Harrison later confirmed that the song was a "swipe" at McCartney.<ref name="White/Musician p 55">Timothy White, "George Harrison – Reconsidered", ''[[Musician (magazine)|Musician]]'', November 1987, p. 55.</ref> "[[Run of the Mill (George Harrison song)|Run of the Mill]]" followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles<ref name="Leng p 91">Leng, p. 91.</ref> amid the business problems surrounding their [[Apple Corps|Apple organisation]].<ref>George Harrison, p. 188.</ref> Harrison's musical activities outside the band during 1969 inspired other songs on the album: "[[What Is Life]]" came to him while driving to a London session that spring for Preston's ''[[That's the Way God Planned It]]'' album;<ref>Andy Davis, Billy Preston ''[[Encouraging Words]]'' CD, liner notes ([[Apple Records]], 2010; produced by George Harrison & Billy Preston).</ref> "[[Behind That Locked Door]]" was Harrison's message of encouragement to Dylan,<ref>Clayson, p. 273.</ref> written the night before the latter's comeback performance at the [[Isle of Wight Festival 1969|Isle of Wight Festival]];<ref>George Harrison, p. 206.</ref> and Harrison began "[[My Sweet Lord]]" as an exercise in writing a gospel song<ref name="Harris p 70" /> during Delaney & Bonnie's stopover in Copenhagen in December 1969.<ref>Leng, pp. 67, 71, 88, 89.</ref>{{refn|group=nb|Soon after the tour, Harrison gave "My Sweet Lord" and "All Things Must Pass" to Preston,<ref>Clayson, pp. 280–81.</ref> who released the songs on his ''[[Encouraging Words]]'' album in September 1970, two months before Harrison's versions appeared.<ref>Castleman & Podrazik, p. 91.</ref>}}

"[[I Dig Love]]" resulted from Harrison's early experiments with [[slide guitar]], a technique to which Bramlett had introduced him,<ref name="Harris p 70">Harris, p. 70.</ref> in order to cover for guitarist [[Dave Mason]]'s departure from the Friends line-up.<ref name="IMM p 172">George Harrison, p. 172.</ref> Other songs on ''All Things Must Pass'', all written during the first half of 1970, include "[[Awaiting on You All]]", which reflected Harrison's adoption of chanting through his involvement with the Hare Krishna movement;<ref>Allison, p. 47.</ref><ref name="Schaffner p 142" /> "[[Ballad of Sir Frankie Crisp (Let It Roll)]]", a tribute to the original owner of Friar Park;<ref>Inglis, p. 29.</ref> and "[[Beware of Darkness (song)|Beware of Darkness]]".<ref>Madinger & Easter, pp. 426, 431.</ref> The latter was another song influenced by Harrison's association with the Radha Krishna Temple,<ref>Inglis, p. 28.</ref> and was written while some of the devotees were staying with him at Friar Park.<ref>George Harrison, p. 198.</ref>

On 1 May 1970, shortly before beginning work on ''All Things Must Pass'', Harrison attended a Dylan session in New York,<ref>Badman, pp. 6, 7.</ref> during which he acquired a new song of Dylan's, "[[If Not for You]]".<ref name="Harris p 72" /> Harrison wrote "[[Apple Scruffs (song)|Apple Scruffs]]", which was one of a number of Dylan-influenced songs on the album,<ref>Inglis, pp. 28–29.</ref> towards the end of production on ''All Things Must Pass'', as a tribute to the [[Apple scruffs|diehard fans]] who had kept a vigil outside the studios where he was working.<ref name="Schaffner p 142" /><ref name="Clayson p 297">Clayson, p. 297.</ref>

According to Leng, ''All Things Must Pass'' represents the completion of Harrison's "musical-philosophical circle", in which his 1966–68 immersion in Indian music found a Western equivalent in gospel music.<ref>Leng, p. 319.</ref> While identifying [[hard rock]], [[country music|country]] and [[Motown]] among the other genres on the album, Leng writes of the "plethora of new sounds and influences" that Harrison had absorbed through 1969 and now incorporated, including "Krishna chants, gospel ecstasy, Southern blues-rock [and] slide guitar".<ref>Leng, pp. 68, 102.</ref> The melodies of "Isn't It a Pity" and "Beware of Darkness" have aspects of [[Indian classical music]], and on "My Sweet Lord", Harrison combined the Hindu [[bhajan]] tradition with gospel.<ref>Leng, pp. 87, 92, 102, 157.</ref> Rob Mitchum of ''[[Pitchfork (website)|Pitchfork]]'' describes the album as "dark-tinged Krishna folk-rock".<ref name="Pitchfork Top 100" />

The recurrent lyrical themes are Harrison's spiritual quest, as it would be throughout his solo career,<ref>Lavezzoli, p. 197.</ref> and friendship, particularly the failure of relationships among the Beatles.<ref>Huntley, pp. 53, 56, 61.</ref><ref>Leng, pp. 76, 86.</ref> Music journalist [[Jim Irvin]] says that Harrison sings of "deep love – for his faith, for life and the people around him". He adds that the songs are performed with "tension and urgency" as if "the whole thing is happening on the edge of a canyon, an abyss into which the '60s is about to topple".<ref name="Irvin/RBP">Jim Irvin, [https://www.rocksbackpages.com/Library/Article/george-harrison-iall-things-must-passi-apple "George Harrison: ''All Things Must Pass'' (Apple)"], [[Rock's Backpages]], 2000 (subscription required; retrieved 28 November 2020).</ref>

===''Apple Jam''===
On the original [[LP record|LP]]'s third disc, titled ''[[Apple Jam]]'', four of the five tracks – "Out of the Blue", "Plug Me In", "I Remember Jeep" and "Thanks for the Pepperoni" – are improvised [[instrumental]]s built around minimal [[Chord (music)|chord]] changes,<ref name="Clayson p 292">Clayson, p. 292.</ref> or in the case of "Out of the Blue", a single-chord [[riff]].<ref>Leng, pp. 101–02.</ref> The title for "I Remember Jeep" originated from the name of Clapton's dog, Jeep,<ref name="Spizer p 226">Spizer, p. 226.</ref> and "Thanks for the Pepperoni" came from a line on a [[Lenny Bruce]] comedy album.<ref name="Huntley p 60">Huntley, p. 60.</ref> In a December 2000 interview with ''[[Billboard (magazine)|Billboard]]'' magazine, Harrison explained: "For the jams, I didn't want to just throw [them] in the cupboard, and yet at the same time it wasn't part of the record; that's why I put it on a separate label to go in the package as a kind of bonus."<ref name="BB 2000">Timothy White, [http://www.billboard.com/articles/news/80788/george-harrison-all-things-in-good-time "George Harrison: 'All Things' in Good Time"], [[Billboard (magazine)|billboard.com]], 8 January 2001 (retrieved 3 June 2014).</ref>{{refn|group=nb|The face label on each side of disc three contained a jam jar painted by designer [[Tom Wilkes]], showing a piece of fruit inside the jar and two apple leaves on the outside.<ref name="Spizer p 228">Spizer, p. 228.</ref>}}

The only vocal selection on ''Apple Jam'' is "It's Johnny's Birthday", sung to the tune of [[Cliff Richard]]'s 1968 hit "[[Congratulations (Cliff Richard song)|Congratulations]]", and recorded as a gift from Harrison to Lennon to mark the latter's 30th birthday.<ref name="Madinger & Easter p 432" /> Like all the "free" tracks on the bonus disc,<ref name="Castleman & Podrazik p 94" /> "It's Johnny's Birthday" carried a Harrison songwriting credit on the original UK release of ''All Things Must Pass'',<ref name="Smith/NME">Alan Smith, "George Harrison: ''All Things Must Pass'' (Apple)", ''[[NME]]'', 5 December 1970, p. 2; available at [http://www.rocksbackpages.com/article.html?ArticleID=20023 Rock's Backpages] (subscription required; retrieved 15 July 2012).</ref> while on the first US copies, the only songwriting information on the record's face labels was the standard inclusion of a performing rights organisation, [[Broadcast Music, Inc.|BMI]].<ref>Spizer, p. 230.</ref> In December 1970, "Congratulations" songwriters [[Bill Martin (musician)|Bill Martin]] and [[Phil Coulter]] claimed royalties,<ref name="Madinger & Easter p 432" /> with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.<ref name="Spizer p 226" />

===Demo tracks and outtakes===
Aside from the seventeen songs issued on discs one and two of the original album,<ref name="Eds of RS p 137">The Editors of ''Rolling Stone'', p. 137.</ref> Harrison recorded at least twenty other songs – either in demo form for Spector's benefit, just before recording got officially under way in late May, or as [[outtakes]] from the sessions.<ref name="Badman p 10" /><ref name="Madinger & Easter pp 426-27">Madinger & Easter, pp. 426–27.</ref> In a 1992 interview, Harrison commented on the volume of material: "I didn't have many tunes on Beatles records, so doing an album like ''All Things Must Pass'' was like going to the bathroom and letting it out."<ref name="Womack p 26">Womack, p. 26.</ref>{{refn|group=nb|In other interviews, Harrison similarly likened his situation to being "constipated for years" artistically while in the Beatles.<ref name="Eds of RS p 137" />}}

Harrison's solo performance for Spector included six compositions that, until their inclusion on the Deluxe editions of the album's [[#2020–2021|50th anniversary box set]], were only available on [[Bootleg recording|bootleg]] compilations, such as ''[[Beware of ABKCO!]]''<ref name="Madinger & Easter p 426">Madinger & Easter, p. 426.</ref><ref>Richie Unterberger, [http://www.allmusic.com/album/beware-of-abkco!-mw0000942420 "George Harrison ''Beware of ABKCO!''"], [[AllMusic]] (retrieved 2 March 2016).</ref> The six songs are: "Window, Window", another song turned down by the Beatles in January 1969;<ref>Huntley, pp. 18–19.</ref> "Everybody, Nobody", the melody of which Harrison adapted for "Ballad of Sir Frankie Crisp";<ref name="Madinger & Easter p 426" /> "Nowhere to Go", a second Harrison–Dylan collaboration from November 1968 (originally known as "When Everybody Comes to Town");<ref name=SLO3b>Leng, pp. 52, 78.</ref> and "Cosmic Empire", "Mother Divine" and "Tell Me What Has Happened to You".<ref name="Spizer p 220" /><ref name=RU06b>Unterberger, pp. 286–88.</ref> Also from this performance were two tracks that Harrison returned to in later years.<ref name="Badman p 10" /> He completed "[[Beautiful Girl (George Harrison song)|Beautiful Girl]]" for inclusion on his 1976 album ''[[Thirty Three & 1/3]]''.<ref name="Spizer p 220" /> "[[I Don't Want to Do It]]", written by Dylan, was Harrison's contribution to the soundtrack for the 1985 film ''[[Porky's Revenge!]]''<ref name="Harris p 72">Harris, p. 72.</ref>

During the main sessions for ''All Things Must Pass'', Harrison taped or routined early versions of "[[You (George Harrison song)|You]]", "[[Try Some, Buy Some]]" and "[[I'll Still Love You|When Every Song Is Sung]]".<ref>Leng, p. 180.</ref><ref name="Madinger & Easter p 433" /> Harrison offered these three songs to [[Ronnie Spector]] in February 1971 for her [[Try Some, Buy Some#Planned Ronnie Spector solo album|proposed solo album]] on Apple Records.<ref>Madinger & Easter, pp. 433, 434.</ref> After releasing his own versions of "Try Some, Buy Some" and "You",<ref>Badman, p. 25.</ref> he offered "When Every Song Is Sung" (since retitled "I'll Still Love You") to former bandmate [[Ringo Starr]] for his 1976 album ''[[Ringo's Rotogravure]]''.<ref>Leng, p. 198.</ref> "[[Woman Don't You Cry for Me]]", written in December 1969 as his first slide-guitar composition,<ref name="Clayson p 280">Clayson, p. 280.</ref> was another song that Harrison revisited on ''Thirty Three & 1/3''.<ref name="IMM p 172" /> Harrison included "[[I Live for You]]" as the only all-new bonus track on the [[#2001|2001 reissue]] of ''All Things Must Pass''.<ref>Huntley, pp. 305, 306.</ref> "Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii"<ref>Huntley, pp. 60, 325.</ref> for his final studio album, the posthumously released ''[[Brainwashed (George Harrison album)|Brainwashed]]'' (2002).<ref>Leng, pp. 292, 303.</ref>

Harrison recorded the following songs during the ''All Things Must Pass'' sessions but, until their inclusion on some editions of the 50th anniversary box set, they had never received an official release:<ref name="Unterberger p 288" />

* "Dehradun" (or "Dehra Dun") – written during [[the Beatles in India|the Beatles' stay in Rishikesh]] in early 1968, and unveiled by Harrison in a brief performance on [[ukulele]] for the 1995 TV broadcast of ''[[The Beatles Anthology]]''<ref name="Badman p 10">Badman, p. 10.</ref>
* "Gopala Krishna" – also known as "Om Hare Om",<ref name="Madinger & Easter p 433" /> with all-[[Sanskrit]] lyrics,<ref>Rodriguez, p. 384.</ref> and described by Simon Leng as a "rocking companion" to "Awaiting on You All"<ref name="Leng p 78">Leng, p. 78.</ref>
* "Going Down to Golders Green" – a [[Sun Records]]-era [[Elvis Presley|Presley]] parody based on the melody of "[[Baby Let's Play House]]".<ref name="Madinger & Easter p 433">Madinger & Easter, p. 433.</ref>

==Contributing musicians==
[[File:Derek and the Dominos.png|thumb|upright=1|Jim Gordon, Carl Radle, Bobby Whitlock and Eric Clapton formed [[Derek and the Dominos]] while participating in the sessions for ''All Things Must Pass''.]]

The precise line-up of contributing musicians is open to conjecture.<ref name="Leng p 82fn">Leng, p. 82fn.</ref><ref>Rodriguez, p. 76.</ref> Due to the album's big sound and the many participants on the sessions, commentators have traditionally referred to the grand, orchestral nature of this line-up.<ref>Schaffner, pp. 142, 147.</ref><ref name="Huntley p 51">Huntley, p. 51.</ref> In 2002, music critic [[Greg Kot]] described it as "a who's who of the decade's rock royalty",<ref name="Eds of RS p 187" /> while Harris writes of the cast taking on "a [[Cecil B. DeMille|Cecil B. De Mille]] aspect".<ref name="Harris p 72" />

The musicians included [[Bobby Whitlock]], [[Jim Gordon (musician)|Jim Gordon]], [[Carl Radle]], [[Bobby Keys]], [[Jim Price (musician)|Jim Price]] and Dave Mason,<ref>Spizer, pp. 220, 222.</ref> all of whom had recently toured with Delaney & Bonnie.<ref>Leng, pp. 63, 78.</ref> Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr, Billy Preston and German bassist [[Klaus Voormann]],<ref>Clayson, p. 287.</ref> the latter formerly of [[Manfred Mann]] and a friend since the Beatles' [[The Beatles in Hamburg|years in Hamburg]].<ref>Leng, pp. 56, 81.</ref> Handling much of the keyboard work with Whitlock was [[Gary Wright]],<ref name="Leng p 82fn" /> who went on to collaborate regularly with Harrison throughout the 1970s.<ref>Rodriguez, pp. 87–88.</ref>

{{quote box|quote= That was the great thing about [the Beatles] splitting up: to be able to go off and make my own record&nbsp;... And also to be able to record with all these new people, which was like a breath of fresh air.<ref name="Spizer p 220" />|source= – George Harrison, December 2000|width=25%|align=left|style=padding:8px;}}

From within Apple's stable of musicians, Harrison recruited the band [[Badfinger]], future [[Yes (band)|Yes]] drummer [[Alan White (Yes drummer)|Alan White]], and Beatles assistant [[Mal Evans]] on percussion.<ref name="Spizer p 222" /><ref name="Huntley p 52">Huntley, p. 52.</ref> Badfinger drummer [[Mike Gibbins]]' powerful tambourine work led to Spector giving him the nickname "Mr Tambourine Man", after the [[Mr. Tambourine Man|Dylan song]].<ref name="Harris p 72" /> According to Gibbins, he and White played most of the percussion parts on the album, "switch[ing] on tambourine, sticks, [[Tubular bells|bells]], maracas&nbsp;... whatever was needed".<ref name="Matovina p 90">Matovina, p. 90.</ref> Gibbins' bandmates [[Pete Ham]], [[Tom Evans (musician)|Tom Evans]] and [[Joey Molland]] provided rhythm acoustic-guitar parts that, in keeping with Spector's [[Wall of Sound]] principles, were to be "felt but not heard".<ref name="Schaffner p 142" /> Other contributors included [[Procol Harum]]'s [[Gary Brooker]], on keyboards, and [[pedal steel]] player [[Pete Drake]],<ref>The Editors of ''Rolling Stone'', pp. 39–40, 187.</ref> the last of whom Harrison flew over from Nashville for a few days of recording.<ref>Harry, p. 161.</ref>

Adding to his and Badfinger's acoustic guitars on some ''All Things Must Pass'' tracks, Harrison invited [[Peter Frampton]] to the sessions.<ref name="Harry p 180" /> Although uncredited for his contributions, Frampton also played acoustic guitar on the country tracks featuring Drake;<ref name="Harry p 180">Harry, p. 180.</ref> he and Harrison later overdubbed further rhythm parts on several songs.<ref name="Harry p 180" />{{refn|group=nb|Frampton said this was because "Spector always wanted 'more acoustics, more acoustics!{{'"}}<ref>Tim Jones, "Peter Frampton Still Alive!", ''[[Record Collector]]'', April 2001, p. 83.</ref> In a 2014 interview, Mason said he could not remember which tracks he played on, but that his contributions were confined to acoustic rhythm guitar.<ref>Ken Sharp, [https://www.goldminemag.com/articles/dave-mason-takes-alternate-path-memory-lane-futures-past "Dave Mason Takes an Alternate Path down Memory Lane with 'Future's Past'"], ''[[Goldmine (magazine)|Goldmine]]'', 23 September 2014 (retrieved 23 December 2020).</ref>}} Orchestral arranger [[John Barham]] also attended the sessions, occasionally contributing on [[Pump organ|harmonium]] and [[vibraphone]].<ref>Leng, pp. 80, 82fn, 83fn.</ref> Simon Leng consulted Voormann, Barham and Molland for his chapter covering the making of ''All Things Must Pass'' and credits [[Tony Ashton]] as one of the keyboard players on both versions of "Isn't It a Pity".<ref>Leng, pp. 78, 82fn, 86, 98.</ref>{{refn|group=nb|Like Barham, Tony Ashton had been a significant contributor to Harrison's ''Wonderwall Music'' album.<ref>Castleman & Podrazik, p. 198.</ref> In March 1970, Harrison and Clapton participated in the recording of "I'm Your Spiritual Breadman" by Ashton's new band, [[Ashton, Gardner and Dyke]].<ref>Leng, p. 69.</ref>}} [[Ginger Baker]], Clapton's former bandmate in Cream and [[Blind Faith]], played drums on the jam track "I Remember Jeep".<ref name="Madinger & Easter p 433" />

For contractual reasons, on UK pressings of ''All Things Must Pass'', Clapton's participation on the first two discs remained unacknowledged for many years,<ref name="Huntley p 51" /><ref name="Woffinden p 38">Woffinden, p. 38.</ref> although he was listed among the musicians appearing on the ''Apple Jam'' disc.<ref name="Carr & Tyler p 92" /><ref>Harry, p. 13.</ref>{{refn|group=nb|For similar reasons regarding record companies being "possessive"<ref name=autogenerated1 /> of their artists,<ref name="Editors">The Editors of ''Rolling Stone'', p. 176.</ref> the musician credits on Cream's ''[[Goodbye (Cream album)|Goodbye]]'' album (1969),<ref>''A Conversation with George Harrison''; event occurs between 3:14 and 3:41.</ref> Jack Bruce's ''[[Songs for a Tailor]]'' (1969) and Delaney & Bonnie's ''[[On Tour with Eric Clapton|On Tour]]'' (1970)<ref>Tillery, p. 161.</ref> could only list Harrison under a pseudonym, "L'Angelo Misterioso".<ref>Castleman & Podrazik, pp. 199, 205.</ref>}} A pre-[[Genesis (band)|Genesis]] [[Phil Collins]] played [[conga]]s at a session for "Art of Dying".<ref name="Harris p 72" /> Harrison gave him a credit on the 30th anniversary reissue of the album,<ref name="Huntley p 305">Huntley, p. 305.</ref> but Collins' playing does not appear on the track.<ref>Jordan Runtagh, [https://www.rollingstone.com/music/music-news/10-things-you-didnt-know-george-harrison-did-121110/ "10 Things You Didn't Know George Harrison Did"], ''[[Rolling Stone]]'', 29 November 2016 (retrieved 8 May 2019).</ref><ref>Will Hodgkinson, [https://www.theguardian.com/culture/2002/nov/15/artsfeatures6 "Home Entertainment: Phil Collins"], ''[[The Guardian]]'', 14 November 2002 (retrieved 5 November 2020).</ref> Unsubstantiated claims exist regarding guest appearances by John Lennon,<ref>Rodriguez, p. 24.</ref> [[Maurice Gibb]]<ref>[http://www.columbia.edu/~brennan/beegees/70.html Gibb Songs: 1970], Columbia.edu (retrieved 10 November 2011).</ref> and [[Pink Floyd]]'s [[Richard Wright (musician)|Richard Wright]].<ref>Cindy Grogan, [https://www.culturesonar.com/george-harrisons-all-things-must-pass-at-50/ "George Harrison's 'All Things Must Pass' at 50"], ''CultureSonar'', 18 October 2020 (retrieved 11 November 2020).</ref> In addition, for some years after the album's release, rumours claimed that the Band backed Harrison on the country-influenced "Behind That Locked Door".<ref name="Madinger & Easter p 429">Madinger & Easter, p. 429.</ref>

==Production==

===Initial recording===
{{quote box|quote= You could feel after the first few sessions that it was going to be a great album.<ref name="Leng p 81" />|source= – Klaus Voormann, 2003|width=25%|align=right|style=padding:8px;}}
Music historian [[Richie Unterberger]] comments that, typical of the Beatles' solo work, the precise dates for the recording of ''All Things Must Pass'' are uncertain, a situation that contrasts with the "meticulous documentation" available for the band's studio activities.<ref name="Unterberger p 288">Unterberger, p. 288.</ref> According to a contemporaneous report in ''[[Beatles Monthly]]'', pre-production began on 20 May 1970,<ref name="Madinger & Easter p 426" /> the same day as the ''[[Let It Be (1970 film)|Let It Be]]'' film's world premiere.<ref name="Schaffner p 138">Schaffner, p. 138.</ref> Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison's run-through of songs for Spector.<ref name="Madinger & Easter p 426" />{{refn|group=nb|In his liner notes accompanying the 2001 reissue of ''All Things Must Pass'', however, Harrison gives the date for the run-through as 27 May.<ref name="GH/ATMP 2001">George Harrison's liner notes, booklet accompanying ''All Things Must Pass'' reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).</ref><ref name="Leng p 77">Leng, p. 77.</ref>}} [[John Leckie]], who worked as an [[EMI]] [[tape operator]] in 1970,<ref name="Cunningham p 66" /> recalled that the sessions were preceded by a week of Harrison recording demos, accompanied by Starr and Voormann.<ref>Tom Doyle, "John Leckie: A Desk Job", ''[[Melody Maker]]'', 3 June 1995; available at [https://rocksbackpages.com/Library/Article/john-leckie-a-desk-job Rock's Backpages] (subscription required; retrieved 30 January 2021).</ref> The first formal recording session for the album took place at EMI Studios (now [[Abbey Road Studios]]) on 26 May,<ref name="Spizer p 220" /><ref name="Madinger & Easter p 426" /> although Unterberger states that "much or all" of that day's recording was not used.<ref name="Unterberger p 288" />

[[File:Abbey Rd Studios.jpg|left|upright=1.1|thumb|[[Abbey Road Studios]] (formerly EMI Studios), where Harrison recorded much of ''All Things Must Pass'']]
The majority of the album's backing tracks were taped on [[8-track (multitrack)|8-track]] at EMI between late May and the second week of June.<ref>Madinger & Easter, pp. 427, 429, 431.</ref> The recording engineer was [[Phil McDonald]],<ref>MacFarlane, pp. 71–72.</ref> with Leckie as his tape operator.<ref name="Cunningham p 66">Cunningham, p. 66.</ref> Spector recorded most of the backing tracks live,<ref name="Leng p 80">Leng, p. 80.</ref> in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.<ref name="Harris p 72" /><ref name="GH/ATMP 2001" /> In Whitlock's description, the studio space was a "massive room{{nbsp}}... two sets of drums on risers, a piano, organ and other keyboards to the wall on the left, up against the far wall on the right were Badfinger, and in the centre were George and Eric and the guitars".<ref name="Snow/Mojo p 70" /> Molland recalled that, to achieve the resonant acoustic guitar sound on songs such as "My Sweet Lord", he and his bandmates were partitioned off inside a plywood structure.<ref name="Simons/AcousticGuitar">David Simons, [https://web.archive.org/web/20071010121901/http://www.acousticguitar.com/issues/ag122/feature122.html "The Unsung Beatle: George Harrison's behind-the-scenes contributions to the world's greatest band"], ''[[Acoustic Guitar (magazine)|Acoustic Guitar]]'', February 2003, p. 60 (archived version retrieved 6 May 2021).</ref>

According to Voormann, Harrison set up a small altar containing figurines and burning incense, creating an atmosphere in which "everyone felt good."<ref name="Snow/Mojo p 70" /> Having suffered in the Beatles at McCartney's tendency to dictate how each musician should play, Harrison allowed the contributors the freedom to express themselves in their playing.<ref name="Jackson p 19" /> All the participants later recalled the project favourably.<ref name="Jackson p 19">Jackson, p. 19.</ref>{{refn|group=nb|Citing Wright's description that Harrison created a "profoundly peaceful" mood in the studio that complemented the quality of the musicianship, musicologist Thomas MacFarlane likens the atmosphere to the sessions for Harrison's Indian-style recordings for the Beatles, such as "[[Within You Without You]]".<ref name="MacFarlane p 72">MacFarlane, p. 72.</ref>}}

The first song recorded was "Wah-Wah".<ref name="Madinger & Easter p 428" /><ref name="MacFarlane p 73">MacFarlane, p. 73.</ref> During the playback, Harrison was shocked at the amount of echo Spector had added, since the performance had sounded relatively dry through the musicians' headphones.<ref name="Snow/Mojo p 70">Mat Snow, "George Harrison: Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', November 2014, p. 70.</ref><ref name="Scorsese LITMW" /> Voormann immediately "loved" the sound,<ref name="Snow/Mojo p 70" /> as did Clapton; Harrison later said: "I grew to like it."<ref name="Scorsese LITMW">George Harrison, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 23:53 and 24:25.</ref><ref>MacFarlane, pp. 73, 157.</ref>

"What Is Life", versions one and two of "Isn't It a Pity", and the songs on which Drake participated, such as "All Things Must Pass" and "Ballad of Sir Frankie Crisp", were among the other tracks taped then.<ref>Madinger & Easter, pp. 428–31.</ref>{{refn|group=nb|Drake also played on the bootlegged instrumental "Pete Drake and His Amazing Talking Guitar",<ref>Madinger & Easter, p. 434.</ref> before returning to Nashville to gather material for Starr's country album, ''[[Beaucoups of Blues]]'',<ref>Woffinden, pp. 36–37.</ref> sessions for which began in the last week of June.<ref>Badman, pp. 11–12.</ref> Drake's visit to London also impacted on Frampton's career, as he went on to adopt Drake's talking-box guitar effect.<ref>Bauer Xcel, [https://www.mojo4music.com/articles/9987/pete-drake-forever "Pete Drake and His Talking Steel Guitar"], [[Mojo (magazine)|mojo4music.com]], 6 December 2013 (retrieved 30 January 2021).</ref><ref>Tony Sokol, [https://www.denofgeek.com/culture/peter-frampton-memoir-do-you-feel-like-i-do-to-release-date/ "Peter Frampton's First Memoir Do You Feel Like I Do? to Hit Bookshelves Oct. 20"], ''[[Den of Geek]]'', 11 October 2020 (retrieved 30 January 2021).</ref>}} Preston recalled that Spector's approach was to have several keyboards playing the same chords in different [[octave]]s, to strengthen the sound. Preston said he had reservations about this approach but "with George's stuff it was perfect."<ref>Ribowsky, p. 255.</ref> According to White, a "really good bond" formed among the musicians; the main sessions lasted three weeks and "There was no mucking around."<ref>Joe Bosso, [https://www.musicradar.com/news/guitars/alan-white-from-yes-what-the-beatles-mean-to-me-219747 "Alan White from Yes: What the Beatles Mean to Me"], ''[[MusicRadar]]'', 11 September 2009 (retrieved 11 November 2020).</ref> Badfinger participated in five sessions until early June,<ref name="Matovina p 90" /> when they left for an engagement in Hawaii.<ref name="Badman p 10" /> Molland said they would record two or three songs each day, and that Harrison ran the sessions, rather than Spector.<ref>Matovina, pp. 90–91.</ref> Wright recalls that as the project progressed, the large cast of musicians was pared down.<ref>Melissa Parker, [https://smashinginterviews.com/interviews/musicians/gary-wright-interview-the-dream-weaver-gets-connected-tours-with-ringo-starr "Gary Wright Interview: The 'Dream Weaver' Gets 'Connected', Tours with Ringo Starr"], ''Smashing Interviews'', 28 September 2010 (retrieved 30 October 2020).</ref> He says that the later recording sessions featured a core group of himself, Harrison, Clapton, Starr or Gordon on drums, and Voormann or Radle playing bass.<ref name="Wright/DailyBeast" />

The ''Apple Jam'' instrumentals "Thanks for the Pepperoni" and "Plug Me In", featuring Harrison, Clapton and Mason each taking extended guitar solos,<ref>Leng, pp. 100–01.</ref> were recorded later in June, at the Beatles' [[Apple Studios (recording studio)|Apple Studio]], and marked the formation of Clapton, Whitlock, Radle and Gordon's short-lived band [[Derek and the Dominos]].<ref name="Madinger & Easter p 427" /> Harrison also contributed on guitar to both sides of the band's debut single, "[[Tell the Truth (Derek and the Dominos song)|Tell the Truth]]"<ref>Castleman & Podrazik, pp. 92, 207.</ref> and "Roll It Over",<ref>Rodriguez, p. 77.</ref> which were produced by Spector and recorded at Apple on 18 June.<ref name="Madinger & Easter p 427" /><ref>Reid, pp. 104, 105.</ref> The eleven-minute "Out of the Blue" featured contributions from Keys and Price,<ref>Castleman & Podrazik, p. 197.</ref> both of whom began working with [[the Rolling Stones]] around this time.<ref>Davis, p. 336.</ref> According to Keys in his autobiography ''Every Night's a Saturday Night'', he and Price added their horns parts to songs such as "What Is Life" after the backing tracks had been recorded. He recalls that Harrison and Price worked out the album's horn arrangements together in the studio.<ref>Keys, pp. 102–03.</ref>{{refn|group=nb|Keys adds that it was only when they started working on Harrison's album that he and Price realised they were not going to join the other Friends personnel in Derek and the Dominos.<ref>Keys, pp. 101–03.</ref>}}

===Delays and distractions===
In his 2010 autobiography, Whitlock describes the ''All Things Must Pass'' sessions as "spectacular in every way", although he says that the project was informed by Harrison's preoccupation with his former bandmates and ongoing difficulties with Klein and Apple.<ref>Whitlock, pp. 74, 77.</ref> Wright recalls Harrison's discomfort when Lennon and [[Yoko Ono]] visited the studio, saying: "His vibe was icy as he bluntly remarked, 'What are you doing here?' It was a very tense moment{{nbsp}}..."<ref name="Wright/DailyBeast">Gary Wright, [https://web.archive.org/web/20161228051049/http://www.thedailybeast.com/articles/2014/09/29/when-gary-wright-met-george-harrison-dream-weaver-john-and-yoko-and-more.html "When Gary Wright Met George Harrison: Dream Weaver, John and Yoko, and More (Book Excerpt)"], ''[[The Daily Beast]]'', 29 September 2014 (archived version retrieved 30 October 2020).</ref> According to Whitlock, Harrison played the couple some of his new music and Lennon "got his socks blown off", much to Harrison's satisfaction.<ref name="Whitlock p 77">Whitlock, p. 77.</ref> The presence of Harrison's friends from the Radha Krishna Temple caused disruption during the sessions, according to Gibbins and Whitlock.<ref>Harris, pp. 72–73.</ref> While echoing this view, Spector cited this as an example of how Harrison inspired tolerance, since the Temple devotees could be "the biggest pain in the necks in the world" yet Harrison "was spiritual and you knew it", which "made you like those Krishnas".<ref>Phil Spector interview, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 20:54 and 21:13.</ref><ref name="Brown/DT" />

[[File:Phil Spector.jpg|thumb|upright=0.6|Phil Spector in 1965]]
Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,<ref name="Badman p 6">Badman, p. 6.</ref><ref name="ContraBand/Pity">[http://beatlechat.blogspot.com.au/2012/03/its-really-pity.html "It's Really a Pity"], Contra Band Music, 15 March 2012 (retrieved 19 January 2013).</ref> recording, [[overdubbing]] and mixing on ''All Things Must Pass'' lasted for five months, until late October.<ref name="Madinger & Easter p 427">Madinger & Easter, p. 427.</ref><ref>Badman, pp. 6, 10, 15.</ref> Part of the reason for this was Harrison's need to make regular visits to Liverpool to tend to his mother, who had been diagnosed with cancer.<ref name="Eds of RS p 40" /><ref name="Clayson p 289">Clayson, p. 289.</ref> Spector's erratic behaviour during the sessions was another factor affecting progress on the album.<ref name="Harris p 72" /><ref name="Madinger & Easter p 427" /><ref name="Leng pp 80-81">Leng, pp. 80–81.</ref> Harrison later referred to Spector needing "eighteen [[Fruit brandy|cherry brandies]]" before he could start work, a situation that forced much of the production duties onto Harrison alone.<ref name="Harris p 72" /><ref name="Clayson p 289" />{{refn|group=nb|Barham commented that Spector was aloof and distant with the musicians, and his authoritarian tendencies contrasted sharply with Harrison's preference for letting the players find themselves in each song. According to Molland, recalling the "Wah-Wah" playback, Spector "was hitting the Courvoisier pretty hard" even by early afternoon, but: "He was still Phil Spector{{nbsp}}... the sound was incredible."<ref name="Leng pp 80-81" />}} At one point, Spector fell over in the studio and broke his arm.<ref name="Leng p 81">Leng, p. 81.</ref> He subsequently withdrew from the project due to what Madinger and Easter term "health reasons".<ref name="Madinger & Easter p 427" />

Early in July, work on ''All Things Must Pass'' was temporarily brought to a halt as Harrison headed north to see his dying mother for the last time.<ref>Badman, p. 12.</ref>{{refn|group=nb|This personal tragedy was the inspiration for a new Harrison composition, the 1971 [[A-side and B-side|B-side]] "[[Deep Blue (song)|Deep Blue]]".<ref>Greene, p. 178.</ref><ref>Inglis, pp. 33–34.</ref>}} EMI's growing concerns regarding studio costs added to the pressure on Harrison.<ref name="Leng p 81" /> A further complication, according to Harris, was that Clapton had become infatuated with Harrison's wife, [[Pattie Boyd]], and adopted a [[heroin]] habit as a means of coping with his guilt.<ref name="Harris p 72" />{{refn|group=nb|Clapton's feelings for Boyd inspired many of his songs on Derek and the Dominos' only studio album, ''[[Layla and Other Assorted Love Songs]]'' (1970).<ref name="Editors" /> After Boyd rejected him in November 1970, Clapton descended into full-blown [[Opioid dependence|heroin addiction]],<ref>Clayson, pp. 289, 297, 309.</ref> which led to the break-up of the band in early 1971 and the sidelining of his career until 1974.<ref>Romanowski & George-Warren, p. 183.</ref>}}

===Overdubbing===
In Spector's absence, Harrison completed the album's backing tracks and carried out preliminary overdubs, doing much of the latter work at [[Trident Studios]] with former Beatles engineer [[Ken Scott]]. Harrison completed this stage of the project on 12 August.<ref name="Madinger & Easter p 427" />{{refn|group=nb|Leckie says that some of the overdubbing took place at EMI. He recalls working with McDonald as Harrison added his lead vocal to "Awaiting on You All", by which point the horns and other overdubs were already in place.<ref>Cunningham, pp. 67–68.</ref>}} He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles,<ref name="Spizer p 222">Spizer, p. 222.</ref> and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing.<ref name="Madinger & Easter p 427" /> Among Spector's comments were detailed suggestions regarding "Let It Down",<ref name="Leng p 91" /> the released recording of which Madinger and Easter describe as "the best example of Spector running rampant with the 'Wall of Sound{{'"}}, and an urging that he and Harrison carry out further work on the songs at Trident because of its [[16-track]] recording desk.<ref>Madinger & Easter, pp. 427, 429.</ref> 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.<ref name="Spizer p 222" />

John Barham's orchestrations were recorded during the next phase of the album's production,<ref name="Madinger & Easter p 428">Madinger & Easter, p. 428.</ref> 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").<ref>Spizer, pp. 212, 222.</ref><ref>MacFarlane, pp. 76, 79.</ref> Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar.<ref name="Leng p 78" /> Leng recognises the arrangements on "pivotal" songs such as "Isn't It a Pity", "My Sweet Lord", "Beware of Darkness" and "All Things Must Pass" as important elements of the album's sound.<ref name="Leng p 78" />

According to Scott, he and Harrison worked alone for "weeks and months" on the overdubs, as Harrison recorded the backing vocals and lead guitar parts. In some cases, they slowed the tape down to allow Harrison to sing the high-register vocal lines.<ref name="Burns/RBMA" /> Spector returned to London for the later mixing stage.<ref name="Clayson p 289" /> Scott says that Spector would visit Trident for a few hours and make suggestions on their latest mixes, and that some of Spector's suggestions were followed, others not.<ref name="Fanelli/GW">Damian Fanelli, [https://web.archive.org/web/20120502094649/http://www.guitarworld.com/interview-abbey-road-engineer-ken-scott-discusses-recording-beatles-white-album-says-sessions-were-blast "Interview: Abbey Road Engineer Ken Scott Discusses Recording The Beatles' White Album, Says Sessions Were a 'Blast'"], ''[[Guitar World]]'', 30 April 2012 (archived version retrieved 14 November 2020).</ref><ref name="Burns/RBMA">Todd L. Burns (host), [https://www.redbullmusicacademy.com/lectures/ken-scott "Ken Scott: Red Bull Music Academy Lecture (New York)"], [[Red Bull Music Academy|redbullmusicacademy.com]], 2013 (retrieved 14 November 2020).</ref>

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&nbsp;..."<ref name="Olivia p 282" /> Harrison's approach to slide guitar incorporated aspects of both Indian music and the [[blues]] tradition;<ref name="Lavezzoli p 186" /> he developed a precise playing style and sound that partly evoked the fretless Indian [[sarod]].<ref>Tom Pinnock, "George Solo: All Things Must Pass", ''[[Uncut (magazine)|Uncut Ultimate Music Guide: George Harrison]]'', TI Media (London, 2018), p. 54.</ref> 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".<ref name="Leng p 102">Leng, p. 102.</ref>

===Final mixing and mastering===
{{quote box|quote= If I were doing [''All Things Must Pass''] now, it would not be so produced. But it was the first record&nbsp;... And anybody who's familiar with Phil [Spector]'s work – it was like [[CinemaScope]] sound.<ref name="Eds of RS p 180">The Editors of ''Rolling Stone'', p. 180.</ref>|source= – George Harrison, January 2001|width=25%|align=right|style=padding:8px;}}
On 9 October, while carrying out final mixing at EMI, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday".<ref>Badman, p. 14.</ref>{{refn|group=nb|Lennon was recording his song "[[Remember (John Lennon song)|Remember]]" in one of the other studios there, with Starr and Voormann. The session tapes reveal Lennon's delight at Harrison's arrival.<ref>Hertsgaard, pp. 307–08.</ref>}} The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.<ref name="Madinger & Easter p 432">Madinger & Easter, p. 432.</ref> 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.<ref>Spizer, p. 294.</ref><ref>MacFarlane, pp. 80–81.</ref> 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.<ref>Leng, pp. 108, 110, 123.</ref>{{refn|group=nb|The albums were released, respectively, as ''[[Bobby Whitlock (album)|Bobby Whitlock]]'' (1972), ''[[Footprint (album)|Footprint]]'' (1971), ''[[Straight Up (Badfinger album)|Straight Up]]'' (1971) and ''Bobby Keys'' (1972).<ref>Castleman & Podrazik, pp. 105–08, 115.</ref> Harrison also introduced Badfinger on stage before their opening night at Urgano's in New York City in November 1970.<ref>Matovina, p. 110.</ref><ref>Badman, p. 15.</ref>}}

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.<ref name="Spizer p 222" /> Harrison harboured doubts about whether all the songs they had finished were worthy of inclusion. Allan Steckler, Apple Records' US manager, was "stunned" by the quality of the material and assured Harrison that he should issue all the songs.<ref name="Spizer p 220" />

Spector's signature production style gave ''All Things Must Pass'' a heavy, [[Reverberation|reverb]]-oriented sound, which Harrison came to regret.<ref>''A Conversation with George Harrison''; event occurs between 0:56 and 1:36.</ref><ref name="Clayson p 291" /><ref name="Harris/Mojo2011" /> Whitlock says that, typical of Spector's Wall of Sound, there was some reverb on the original recordings but the effect was mostly added later.<ref name="Whitlock p 77" /> In music journalist [[David Cavanagh]]'s description, once abandoned by his co-producer midway through the summer, Harrison had "proceeded to out-Spector Spector" through the addition of further echo and multiple overdubs. Voormann has said that Harrison "cluttered" the album's sound in this way, and "admitted later that he put too much stuff on top".<ref name="Cavanagh/Uncut p 41">David Cavanagh, "George Harrison: The Dark Horse", ''[[Uncut (magazine)|Uncut]]'', August 2008, p. 41.</ref> 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.<ref>Cunningham, p. 67.</ref> Outtakes from the recording sessions became available on bootlegs in the 1990s.<ref>Madinger & Easter, pp. 427–28.</ref> One such unofficial release, the three-disc ''The Making of All Things Must Pass'',<ref>Unterberger, pp. 289–90.</ref> 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.<ref name="Madinger & Easter p 428" />

==Artwork==
Harrison commissioned [[Tom Wilkes]] to design a hinged box in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover.<ref name="Spizer p 226" /> Apple insider Tony Bramwell later recalled: "It was a bloody big thing&nbsp;... You needed arms like an [[orangutan|orang-utan]] to carry half a dozen."<ref name=autogenerated1 /> The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works.<ref name=autogenerated1>Harris, p. 73.</ref>

The stark black-and-white cover photo was taken on the main lawn at Friar Park<ref name="Schaffner p 142" /> by Wilkes' Camouflage Productions partner, [[Barry Feinstein]].<ref name="Spizer p 226" /> Commentators interpret the photograph – showing Harrison seated in the centre of, and towering over, four comical-looking [[garden gnome]]s – as representing his removal from the Beatles' collective identity.<ref name="Clayson p 293">Clayson, p. 293.</ref><ref>Leng, p. 95.</ref> The gnomes had recently been delivered to Friar Park and placed on the lawn;<ref>Dennis McLellan, [http://www.chicagotribune.com/news/obituaries/la-me-barry-feinstein-20111021-story.html "Barry Feinstein dies at 80; rock music photographer"], ''[[Chicago Tribune]]'', 21 October 2011 (retrieved 22 November 2014).</ref> seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.<ref name=autogenerated1 /> Author and music journalist [[Mikal Gilmore]] has written that Lennon's initial negativity regarding ''All Things Must Pass'' was possibly because he was "irritated" by this cover photo;<ref name="Eds of RS p 40" /> Harrison biographer Elliot Huntley attributes Lennon's reaction to envy during a time when "everything [Harrison] touched turned to gold".<ref name="Huntley p 64">Huntley, p. 64.</ref>{{refn|group=nb|According to Harrison's recollection in a 1977 interview for ''[[Crawdaddy!|Crawdaddy]]'' magazine,<ref name="Eds of RS p 40" /> Lennon first saw the artwork at Friar Park and remarked to a mutual friend of theirs that Harrison "must be fucking mad" to be releasing a triple album, and described him as "look[ing] like an asthmatic Leon Russell" on the cover.<ref>Doggett, p. 148.</ref> Later, in what author [[Alan Clayson]] views as a case of "needling Paul rather than praising George",<ref>Clayson, p. 305.</ref> Lennon told ''Rolling Stone'' editor [[Jann Wenner]] that he "preferred" ''All Things Must Pass'' to the "rubbish" on ''McCartney''.<ref name="Badman p 16" />}}

Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window.<ref>Spizer, pp. 221, 226.</ref> Wilkes had designed a more adventurous poster, but according to Beatles author [[Bruce Spizer]], Harrison was uncomfortable with the imagery.<ref>Spizer, pp. 226–28.</ref>{{refn|group=nb|Part of this original poster was a painting of a bathing scene featuring naked women (one of whom was blonde, representing Pattie Boyd) and a "mischievous" [[Lord Krishna]], who had hidden the bathers' clothing in the branches of a nearby tree.<ref name="Spizer p 226" />}} Some of the Feinstein photographs that Wilkes had incorporated into this original poster design appeared instead on the picture sleeves for the "My Sweet Lord" single and its follow-up, "What Is Life".<ref name="Spizer p 226" />

==Release==
===Impact===
EMI and its US counterpart, [[Capitol Records]], had originally scheduled the album for release in October 1970, and advance promotion began in September.<ref name="Madinger & Easter p 427" /> An "intangible buzz" had been "in the air for months" regarding Harrison's solo album, according to [[Alan Clayson]], and "for reasons other than still-potent loyalty to the Fab Four".<ref>Clayson, pp. 293–94.</ref> Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on ''Abbey Road'',<ref name="Woffinden p 37">Woffinden, p. 37.</ref><ref name="Ingham p 127">Ingham, p. 127.</ref> as well as the speculation caused by his and Dylan's joint recording session in New York.<ref>The Editors of ''Rolling Stone'', pp. 179–80.</ref> Noting also Harrison's role in popularising new acts such as the Band and Delaney & Bonnie, and his association with Clapton and Cream, ''[[NME]]'' critic [[Bob Woffinden]] concluded in 1981: "All in all, Harrison's credibility was building to a peak."<ref name="Woffinden p 37" />

{{quote box|quote= Music should be used for the perception of God, not [[jitterbug]]ging.<ref name="Eds of RS p 40" />|source= – George Harrison, January 1971|width=25%|align=right|style=padding:8px;}}
''All Things Must Pass'' was released on 27 November 1970 in the United States, and on 30 November in Britain,<ref name="Badman p 16">Badman, p. 16.</ref> with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries.<ref name="Castleman & Podrazik p 94">Castleman & Podrazik, p. 94.</ref> Often credited as [[Rock music|rock]]'s first triple album,<ref name="Eds of RS p 40">The Editors of ''Rolling Stone'', p. 40.</ref> it was the first triple set of previously unissued music by a single act, the multi-artist ''[[Woodstock: Music from the Original Soundtrack and More|Woodstock]]'' live album having preceded it by six months.<ref name="Clayson p 289" /> Adding to the commercial appeal of Harrison's songs, ''All Things Must Pass'' appeared at a time when religion and spirituality had become a trend among Western youth.<ref>Clayson, p. 294.</ref><ref>Jackson, p. 28.</ref> Apple issued "My Sweet Lord" as the album's first single, as a [[A-side and B-side#Double A-side|double A-side]] with "Isn't It a Pity" in the majority of countries.<ref>Rodriguez, pp. 254–55.</ref> Discussing the song's cultural impact, Gilmore credits "My Sweet Lord" with being "as pervasive on radio and in youth consciousness as anything the Beatles had produced".<ref name="Eds of RS p 40" />

Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York,<ref name="Badman p 16" /> the failure of which led to McCartney filing suit in London's [[High Court of Justice|High Court]] to dissolve the Beatles' legal partnership.<ref>Doggett, pp. 148–49, 153–54.</ref><ref>MacFarlane, p. 80.</ref> Songs such as "Wah-Wah", "Apple Scruffs", "Isn't It a Pity" and "Run of the Mill" resonated with listeners as documents of the group's dysfunction.<ref>Doggett, pp. 141–42.</ref> In the fallout to the break-up, according to journalist [[Kitty Empire]], Harrison's triple album "functioned as a kind of repository for grief" for the band's fans.<ref>Kitty Empire, [https://www.theguardian.com/music/2011/jun/12/paul-mccartney-leaves-beatles "Paul McCartney Leaves the Beatles"], ''[[The Guardian]]'', 12 June 2011 (retrieved 6 December 2019).</ref>

===Commercial performance===
[[File:George Harrison-What Is Life+Apple Scruffs.png|thumb|left|upright=0.7|Trade ad for the "What Is Life" single, February 1971]]
"My Sweet Lord" was highly successful,<ref name="Ingham p 127" /> topping singles charts around the world during the first few months of 1971.<ref name="Schaffner p 142">Schaffner, p. 142.</ref> It was the first solo single by a former Beatle to be number 1 in the UK or the US,<ref>Champ, p. 150.</ref> and became the most performed song of that year.<ref name="Clayson p 295">Clayson, p. 295.</ref>{{refn|group=nb|Aside from the popularity of Harrison's recording, the song attracted a large number of cover versions in 1971.<ref name="Clayson p 295" /> The widespread success of "My Sweet Lord" worked against Harrison when a near-bankrupt music publisher, Bright Tunes, pursued an ultimately successful [[My Sweet Lord#Plagiarism suit|claim of plagiarism]] against him in the [[United States district court|US district court]], for unauthorised copyright infringement of the 1963 song "[[He's So Fine]]".<ref>Woffinden, pp. 99, 102.</ref>}} Issued in February 1971, the second single, "What Is Life" backed with "Apple Scruffs",<ref>Spizer, p. 231.</ref> also became an international hit.<ref name="Clayson p 296">Clayson, p. 296.</ref>

''All Things Must Pass'' was number 1 on the [[UK Albums Chart|UK's official albums chart]] for eight weeks, although until 2006, chart records incorrectly stated that it had peaked at number 4.<ref name="last" />{{refn|group=nb|This error was due to a postal strike in Britain during February and March of 1971, when the national chart compiler failed to receive any sales data from retailers.<ref name="last" /> In July 2006, the [[Official Charts Company|Official UK Charts Company]] changed its records to show that ''All Things Must Pass'' was the top-selling album throughout that time.<ref name="last">[http://www.liverpoolecho.co.uk/whats-on/music/number-one-harrison-last-3516990 "Number one for Harrison at last"], ''[[Liverpool Echo]]'', 31 July 2006 (retrieved 24 December 2016).</ref>}} On ''[[Melody Maker]]''{{'}}s national chart, the album was also number 1 for eight weeks, from 6 February to 27 March, six of which coincided with "My Sweet Lord" topping the magazine's singles chart.<ref>Castleman & Podrazik, pp. 340–41.</ref> In America, ''All Things Must Pass'' spent seven weeks at number 1 on the [[Billboard 200|''Billboard'' Top LP's]] chart, from 2 January until 20 February, and a similarly long period atop the listings compiled by ''[[Cashbox (magazine)|Cash Box]]'' and ''[[Record World]]'';<ref name="Spizer p 219" /> for three of those weeks, "My Sweet Lord" held the top spot on the [[Billboard Hot 100|''Billboard'' Hot 100]].<ref>Castleman & Podrazik, pp. 352, 362.</ref> In [[RPM (magazine)|Canada]] the album hit number 1 on just its 3rd week, was number 1 for 9 weeks, and was on the charts for 31 weeks, ending July 17, 1971.<ref>{{cite web|url=http://www.collectionscanada.gc.ca/obj/028020/f2/nlc008388.5371.pdf| title=RPM Top 100 Albums - July 17, 1971}}</ref>

The extent of Harrison's success surprised the music industry and largely overshadowed Lennon's concurrently released ''[[John Lennon/Plastic Ono Band|Plastic Ono Band]]'' album, which Spector also co-produced.<ref>Ribowsky, pp. 255–56.</ref>{{refn|group=nb|Record producer [[Andrew Loog Oldham]], formerly the Rolling Stones' manager, recalls: "When ''All Things Must Pass'' came out I sat down and listened to it for three days. It was the first album that sounded like one single."<ref name="Kubernik/MusicConnection" />}} Writing in the April 2001 issue of ''[[Record Collector]]'', [[Peter Doggett]] described Harrison as "arguably the most successful rock star on the planet" at the start of 1971, with ''All Things Must Pass'' "easily outstripping other solo Beatles projects later in the year, such as [McCartney's] ''[[Ram (album)|Ram]]'' and [Lennon's] ''[[Imagine (John Lennon album)|Imagine]]''".<ref>Peter Doggett, "George Harrison: The Apple Years", ''[[Record Collector]]'', April 2001, p. 37.</ref> Harrison's so-called "''Billboard'' double" – whereby one artist simultaneously holds the top positions on the magazine's albums and singles listings – was a feat that none of his former bandmates equalled until [[Paul McCartney and Wings]] repeated the achievement in June 1973.<ref name="C&P pp 353, 364">Castleman & Podrazik, pp. 353, 364.</ref>{{refn|group=nb|Immediately after Wings' success, Harrison again held both number 1 positions, with his "[[Give Me Love (Give Me Peace on Earth)|Give Me Love]]" single and its parent album, ''[[Living in the Material World]]''.<ref name="C&P pp 353, 364" /><ref>Spizer, pp. 153, 156.</ref>}} At the [[1972 Grammy Awards]], ''All Things Must Pass'' was nominated for [[Grammy Award for Album of the Year|Album of the Year]] and "My Sweet Lord" for [[Grammy Award for Record of the Year|Record of the Year]], but Harrison lost out in both categories to [[Carole King]].<ref name="1972Grammys" /><ref>[https://books.google.com/books?id=bSgEAAAAMBAJ&q=Grammy "1971 Grammy Champions"], ''[[Billboard (magazine)|Billboard]]'', 25 March 1972, p. 6 (retrieved 17 September 2014).</ref>

''All Things Must Pass'' was awarded a [[Music recording sales certification|gold disc]] by the [[Recording Industry Association of America]] (RIAA) on 17 December 1970<ref>Castleman & Podrazik, p. 332.</ref> and it has since been certified seven times platinum by the RIAA.<ref name="Spizer p 219">Spizer, p. 219.</ref><ref name="riaa">[https://archive.today/20130201072534/http://riaa.com/goldandplatinumdata.php?resultpage=1&table=SEARCH_RESULTS&action=&title=&artist=Harrison&format=ALBUM&debutLP=&category=&sex=&releaseDate=&requestNo=&type=&level=&label=&company=&certificationDate=&awardDescription=&catalogNo=&aSex=&rec_id=&charField=&gold=&platinum=&multiPlat=&level2=&certDate=&album=&id=&after=&before=&startMonth=1&endMonth=1&startYear=1958&endYear=2010&sort=Artist&perPage=75 Gold & Platinum Database Search: "Harrison"], [[Recording Industry Association of America]] (retrieved 12 February 2013).</ref> In January 1975, the [[Music Canada|Canadian Recording Industry Association]] announced that it had been certified as a platinum album in Canada.<ref>[https://worldradiohistory.com/CANADA/RPM/70s/1975/RPM-1975-01-11.pdf "Certified for Canadian Gold" (CRIA trade advertisement)], ''[[RPM (magazine)|RPM]]'', 11 January 1975, p. 6 (retrieved 12 May 2021).</ref>{{refn|group=nb|[[Capitol of Canada|Capitol Canada]] executives presented Harrison with the platinum award in Toronto in December 1974, shortly before he performed at the city's [[Maple Leaf Gardens]].<ref>[https://books.google.com/books?id=MREEAAAAMBAJ&q=Eskimo "Capitol Canada"], ''[[Billboard (magazine)|Billboard]]'', 8 February 1975, p. 61 (retrieved 17 June 2021).</ref>}} According to John Bergstrom of ''[[PopMatters]]'', as of January 2011, ''All Things Must Pass'' had sold more than ''Imagine'' and McCartney and Wings' ''[[Band on the Run]]'' (1973) combined.<ref name="PopMatters review 135411">John Bergstrom, [http://www.popmatters.com/pm/review/135411-george-harrison-all-things-must-pass/ "George Harrison: All Things Must Pass"] {{Webarchive|url=https://web.archive.org/web/20130130111830/http://www.popmatters.com/pm/review/135411-george-harrison-all-things-must-pass |date=30 January 2013 }}, ''[[PopMatters]]'', 14 January 2011 (retrieved 10 March 2012).</ref> Also writing in 2011, Lennon and Harrison biographer [[Gary Tillery]] describes it as "the most successful album ever released by an ex-Beatle".<ref name="Tillery p 89">Tillery, p. 89.</ref> According to Hamish Champ's 2018 book ''The 100 Best-Selling Albums of the 70s'', in the US, ''All Things Must Pass'' is the 33rd-best-selling album from the 1970s.<ref>Champ, pp. 150–51.</ref>

==Critical reception==

===Contemporary reviews===
''All Things Must Pass'' received almost universal critical acclaim on release<ref>Chris Hunt (ed.), ''[[NME|NME Originals]]: Beatles – The Solo Years 1970–1980'', IPC Ignite! (London, 2005), p. 22.</ref> – as much for the music and lyrical content as for the fact that, of all the former Beatles, it was the work of supposed junior partner George Harrison.<ref name="Schaffner, p. 140">Schaffner, p. 140.</ref><ref name="Clayson p 291">Clayson, p. 291.</ref><ref name="Badman, p. 24">Badman, p. 24.</ref> Harrison had usually contributed just two songs to a Beatles album;<ref>Howard, p. 36.</ref> in author Robert Rodriguez's description, critics' attention was now centred on "a major talent unleashed, one who'd been hidden in plain sight all those years" behind Lennon and McCartney. "That the Quiet Beatle was capable of such range", Rodriguez continues, "from the joyful 'What Is Life' to the meditative 'Isn't It a Pity' to the steamrolling 'Art of Dying' to the playful 'I Dig Love' – was revelatory."<ref name="Rodriguez p 147">Rodriguez, p. 147.</ref> Most reviewers tended to discount the third disc of studio jams, accepting that it was a "free" addition to justify the set's high retail price,<ref name="Clayson p 292" /><ref name="Carr & Tyler p 92">Carr & Tyler, p. 92.</ref> although [[Anthony DeCurtis]] recognises ''Apple Jam'' as further evidence of the album's "bracing air of creative liberation".<ref name="RS2000" />{{refn|group=nb|Previewing the LP in the ''[[Detroit Free Press]]'', Mike Gormley said that ''Apple Jam'' constituted "some exceptional hard rock and roll". He concluded: "The album should sell for around $10. It's worth $50."<ref>Mike Gormley, "Old Un-Fancy George Returns", ''[[Detroit Free Press]]'', 6 December 1970; available at [https://www.rocksbackpages.com/Library/Article/george-harrison-iall-things-must-passi-apple-2 Rock's Backpages] (subscription required).</ref>}}

Ben Gerson of ''[[Rolling Stone]]'' deemed ''All Things Must Pass'' "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty"<ref name=RS1971/> and referenced the three-record set as an "extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the ''[[War and Peace]]'' of rock 'n' roll".<ref>Greene, p. 182.</ref> Gerson also lauded the album's production as being "of classic Spectorian proportions, [[Richard Wagner|Wagnerian]], [[Anton Bruckner|Brucknerian]], the music of mountain tops and vast horizons".<ref name=RS1971/><ref>Huntley, p. 62.</ref> In the ''NME'', Alan Smith referred to Harrison's songs as "music of the mind", adding: "they search and they wander, as if in the soft rhythms of a dream, and in the end he has set them to words which are often both profound and profoundly beautiful."<ref name="Smith/NME" /> ''Billboard''{{'}}s reviewer hailed ''All Things Must Pass'' as "a masterful blend of rock and piety, technical brilliance and mystic mood, and relief from the tedium of everyday rock".<ref name="BB review/google">[https://books.google.com/books?id=mSkEAAAAMBAJ&dq=%22a+new+stroke%22&pg=RA1-PA50 "Album Reviews"], ''[[Billboard (magazine)|Billboard]]'', 19 December 1970, p. 50 (retrieved 28 November 2012).</ref>

''Melody Maker''{{'}}s [[Richard Williams (journalist)|Richard Williams]] summed up the surprise many felt at Harrison's apparent transformation: ''All Things Must Pass'', he said, provided "the rock equivalent of the shock felt by pre-war moviegoers when [[Greta Garbo|Garbo]] first opened her mouth in a [[Sound film|talkie]]: Garbo talks! – Harrison is free!"<ref name="Schaffner, p. 140"/> In another review, for ''[[The Times]]'', Williams opined that, of all the Beatles' solo releases thus far, Harrison's album "makes far and away the best listening, perhaps because it is the one which most nearly continues the tradition they began eight years ago".<ref name="Badman, p. 24"/>{{refn|group=nb|Aside from non-vocal albums such as Harrison's ''Wonderwall Music'' and ''Electronic Sound'', and Lennon's experimental work with Ono, beginning with ''[[Unfinished Music No.1: Two Virgins|Two Virgins]]'' (1968),<ref name="Williams p 152">Williams, p. 152.</ref> the solo albums up to January 1971 were as follows: Lennon's ''[[Live Peace in Toronto]]'' (1969), Starr's ''[[Sentimental Journey (Ringo Starr album)|Sentimental Journey]]'' (1970), ''McCartney'', ''Beaucoups of Blues'', ''All Things Must Pass'' and ''John Lennon/Plastic Ono Band''.<ref>Schaffner, pp. 207–09.</ref>}} [[William Bender]] of ''[[Time (magazine)|Time]]'' magazine described it as an "expressive, classically executed personal statement&nbsp;... 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".<ref name="Frontani pp 155, 166">Frontani, p. 158, note 19 (p. 266).</ref>

In ''[[The New York Times]]'', Don Heckman deemed the album "a release that shouldn't be missed"<ref name="Frontani pp 155, 166" /> and outlined his "complex" reaction to being presented with a sequence of Harrison songs for the first time: "amazement at the range of Harrison's talents; fascination at the effects of Phil Spector's participation as the album's producer; curiosity about the many messages that waft through the Harrison songs".<ref>Don Heckman, [https://www.nytimes.com/1970/12/20/archives/pop-two-and-a-half-beatles-on-their-own.html "Pop: Two and a Half Beatles on Their Own"], ''[[The New York Times]]'', 20 December 1970, p. 104 (retrieved 3 November 2020).</ref> John Gabree of ''[[High Fidelity (magazine)|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."<ref>John Gabree, "The Heaviest Beatles of Them All", ''[[High Fidelity (magazine)|High Fidelity]]'', March 1971, pp. 70–71.</ref>

===Retrospective assessments===
{{Music ratings
| rev1 = [[AllMusic]]
| rev1Score = {{Rating|5|5}}<ref name="AllMusic" />
| rev2 = ''[[Blender (magazine)|Blender]]''
| rev2Score = {{Rating|5|5}}<ref name="DuNoyer/Blender">Paul Du Noyer, "Back Catalogue: George Harrison", ''[[Blender (magazine)|Blender]]'', April 2004, pp. 152–53.</ref>
| rev3 = 
| rev4 = ''[[Encyclopedia of Popular Music]]''
| rev4Score = {{Rating|4|5}}<ref>Larkin, p. 2650.</ref>
| rev5 = ''[[Mojo (magazine)|Mojo]]''
| rev5Score = {{Rating|5|5}}<ref name="Harris/Mojo2011">John Harris, "Beware of Darkness", ''[[Mojo (magazine)|Mojo]]'', November 2011, p. 82.</ref>
| rev6 = ''[[MusicHound|MusicHound Rock]]''
| rev6Score = 5/5<ref name="Graff & Durchholz 529" />
| rev7 = ''[[Pitchfork (website)|Pitchfork]]''
| rev7Score = 9.0/10<ref name="Greene/Pitchfork">Jayson Greene, [http://pitchfork.com/reviews/albums/22037-all-things-must-pass/ "George Harrison: ''All Things Must Pass''"], ''[[Pitchfork (website)|Pitchfork]]'', 19 June 2016 (retrieved 3 July 2016).</ref>
| rev8 = ''[[Q (magazine)|Q]]''
| rev8Score = {{Rating|5|5}}<ref name="Qmag">Album review, ''[[Q (magazine)|Q]]'', March 2001, pp.&nbsp;122–23.</ref>
| rev9 = ''[[Rolling Stone]]''
| rev9Score = {{Rating|4.5|5}}<ref name=RS2000>Anthony DeCurtis, [https://web.archive.org/web/20060814002619/http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass "George Harrison ''All Things Must Pass''"], ''[[Rolling Stone]]'', 12 October 2000 (archived version retrieved 1 April 2012).</ref>
| rev10 = ''[[Uncut (magazine)|Uncut]]''
| rev10score = {{Rating|5|5}}<ref name="Williamson/Uncut">Nigel Williamson, "All Things Must Pass: George Harrison's post-Beatles solo albums", ''[[Uncut (magazine)|Uncut]]'', February 2002, p. 60.</ref>
}}
An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade.<ref name="Woffinden p 38" /> ''[[The Village Voice|Village Voice]]'' critic [[Robert Christgau]], having bemoaned in 1971 that it was characterised by "overblown fatuity" and uninteresting music,<ref>Robert Christgau, [http://www.robertchristgau.com/xg/bk-aow/beatles.php "Living Without the Beatles"], robertchristgau.com (retrieved 8 February 2014).</ref> 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".<ref name="Christgau p 171">Christgau, p. 171.</ref> 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".<ref name="Carr & Tyler p 92" /> Writing in ''The Beatles Forever'' in 1977, however, [[Nicholas Schaffner]] praised the album as the "crowning glory" of Harrison's and Spector's careers, and highlighted "All Things Must Pass" and "Beware of Darkness" as the "two most eloquent songs&nbsp;... musically as well as lyrically".<ref>Schaffner, pp. 138, 142.</ref>

[[AllMusic]]'s Richie Unterberger views ''All Things Must Pass'' as "[Harrison's] best&nbsp;... a very moving work",<ref name=AllMusic/> and Roger Catlin of [[MusicHound]] describes the set as "epic and audacious", its "dense production and rich songs topped off by the extra album of jamming".<ref name="Graff & Durchholz 529">Graff & Durchholz, p. 529.</ref> 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.<ref>Unterberger, p. 291.</ref> ''[[Q (magazine)|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".<ref name="Qmag"/> Filmmaker [[Martin Scorsese]] has written of the "powerful sense of the ritualistic on the album", adding: "I remember feeling that it had the grandeur of [[liturgical music]], of the bells used in [[Tibetan Buddhism|Tibetan Buddhist]] ceremonies."<ref>Olivia Harrison, p. 7.</ref> 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;<ref name="Eds of RS p 187">The Editors of ''Rolling Stone'', p. 187.</ref> in the same publication, Mikal Gilmore labelled the album "the finest solo work any ex-Beatle ever produced".<ref>The Editors of ''Rolling Stone'', p. 42.</ref>

In his 2001 review for ''[[Mojo (magazine)|Mojo]]'', John Harris said that ''All Things Must Pass'' "remains the best Beatles solo album&nbsp;... oozing both the goggle-eyed joy of creative emancipation and the sense of someone pushing himself to the limit".<ref>John Harris, "George Harrison ''All Things Must Pass''", ''[[Mojo (magazine)|Mojo]]'', March 2001, pp. 86–87.</ref> 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''{{nbsp}}... 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."<ref>Greg Kot, [https://www.chicagotribune.com/news/ct-xpm-2001-12-02-0112020017-story.html "All Things Must Pass"], ''[[Chicago Tribune]]'', 2 December 2001 (retrieved 3 November 2020).</ref>{{refn|group=nb|[[Mick Brown (journalist)|Mick Brown]], writing in ''[[The Daily Telegraph]]'', also considers it the best of all the Beatles' solo albums.<ref name="Brown/DT">Mick Brown, "George Harrison: Fabbest of the Four?", ''[[The Daily Telegraph]]'', 30 September 2011; available at [http://www.rocksbackpages.com/Library/Article/george-harrison-fabbest-of-the-four Rock's Backpages] (subscription required; retrieved 6 November 2020).</ref>}} Nigel Williamson of ''[[Uncut (magazine)|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{{nbsp}}... and arguably the best post-Beatles solo album of them all".<ref name="Williamson/Uncut" />

In ''[[The Rolling Stone Album Guide]]'' (2004), Mac Randall writes that the album is exceptional, but "a tad overrated" by those critics who tend to overlook how its last 30 minutes comprise "a bunch of instrumental blues jams that nobody listens to more than once".<ref>Brackett & Hoard, p. 367.</ref> 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.<ref name=AllMusic/> Writing for ''[[Pitchfork (website)|Pitchfork]]'' in 2016, Jayson Greene said that Harrison was the only former Beatle who "changed the terms of what an album could be" since, although ''All Things Must Pass'' was not the first rock triple LP, "in the cultural imagination, it is ''the'' first triple album, the first one released as a pointed statement."<ref name="Greene/Pitchfork" />

==Legacy==
{{quote box|quote= George Harrison confronted the breakup head-on, with the graceful, philosophical ''All Things Must Pass''. A series of elegies, dream sequences, and thoughts on the limits of idealism, it is arguably the most fully realized solo statement from any of the Beatles.<ref name="Moon p 345">Moon, p. 345.</ref>|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",<ref>Ribowsky, p. 256.</ref> while music historian David Howard writes that the album's combination of expansive hard rock and "intimate acoustic-confessionals" made it the [[Touchstone (metaphor)|touchstone]] for the early 1970s rock sound.<ref>Howard, p. 37.</ref> 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&nbsp;... foretold the sprawl and sleepy ambition of the Seventies."<ref>James Hunter, "George Harrison ''All Things Must Pass'' 30th Anniversary reissue", ''[[Rolling Stone]]'', 29 March 2001.</ref>

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."<ref name="PopMatters review 135411" /> Bergstrom credits the album with heavily influencing bands such as [[Electric Light Orchestra|ELO]], [[My Morning Jacket]], [[Fleet Foxes]] and [[Grizzly Bear (band)|Grizzly Bear]], as well as helping bring about the [[dream pop]] phenomenon.<ref name="PopMatters review 135411" /> In Harris' view, the "widescreen sound" used by Harrison and Spector on some of the tracks was a forerunner to recordings by ELO and [[Oasis (band)|Oasis]].<ref>John Harris, "What Did George Harrison Ever Do for Us?{{nbsp}}...", ''[[Q (magazine)|Q]]'', January 2002, pp. 34–35.</ref>

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 "[[Franz Kafka|Kafkaesque]] chain of events" of life within the band and so added to the "mythologized history" he was looking to escape.<ref>Leng, pp. 76, 103.</ref> 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 (album)|Ladies of the Canyon]]'', but that none of these "possessed the startling impact" of ''All Things Must Pass''.<ref name="Inglis p 23" /> Harrison's triple album, Inglis writes, "[would] elevate 'the third Beatle' into a position that, for a time at least, comfortably eclipsed that of his former bandmates".<ref name="Inglis p 23">Inglis, p. 23.</ref>

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".<ref>Kevin Korber, [https://spectrumculture.com/2019/09/04/best-solo-beatles-album-ever-all-things-must-pass/ "Best Solo Beatles Album Ever: All Things Must Pass"], ''Spectrum Culture'', 4 September 2019 (retrieved 12 November 2020).</ref> 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."<ref name="Irvin/RBP" />

''All Things Must Pass'' features in music reference books such as ''[[The Mojo Collection|The Mojo Collection: The Greatest Albums of All Time]]'',<ref>Irvin, pp. 238–39.</ref> Robert Dimery's ''[[1001 Albums You Must Hear Before You Die]]''<ref>{{cite book |editor1-last=Dimery |editor1-first=Robert |title=1001 Albums You Must Hear Before You Die |date=2011 |publisher=Cassell Illustrated |page=212 |ol=26138487M}}</ref> and Tom Moon's ''[[1,000 Recordings to Hear Before You Die]]''.<ref>Moon, pp. 345–46.</ref> In 1999, ''All Things Must Pass'' appeared at number 9 on ''[[The Guardian]]''{{'}}s "Alternative Top 100 Albums" list, where the editor described it as the "best, mellowest and most sophisticated" of all the Beatles' solo efforts.<ref>Tom Cox, [https://www.theguardian.com/albums/Story/0,,209103,00.html "The alternative top 10"], ''[[The Guardian]]'', 29 January 1999 (retrieved 17 August 2012).</ref> In 2006, ''Pitchfork'' placed it at number 82 on the site's "Top 100 Albums of the 1970s".<ref name="Pitchfork Top 100">[https://web.archive.org/web/20080701134138/http://www.pitchforkmedia.com/article/feature/36725-top-100-albums-of-the-1970s "Top 100 Albums of the 1970s"], ''[[Pitchfork (website)|Pitchfork]]'', 23 April 2006 (archived version retrieved 14 October 2014).</ref> It was ranked 433rd on ''Rolling Stone''{{'}}s list of the "[[Rolling Stone's 500 Greatest Albums of All Time|500 Greatest Albums of All Time]]" in 2012<ref>[https://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/george-harrison-all-things-must-pass-19691231 "500 Greatest Albums of All Time: George Harrison, 'All Things Must Pass'"], ''[[Rolling Stone]]'' (retrieved 12 June 2012).</ref> and 368th on the 2020 updated list.<ref>[https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/george-harrison-all-things-must-pass-2-1062865/ "The 500 Greatest Albums of All Time: 368. George Harrison, 'All Things Must Pass'"], [[Rolling Stone|rollingstone.com]], 22 September 2020 (retrieved 30 October 2020).</ref> ''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),{{CN|date=December 2023}} ''The Times''{{'}} "100 Best Albums of All Time" (1993; number 79),{{CN|date=December 2023}} [[Allan Kozinn]]'s ''The 100 Greatest Pop Albums of the Century'' (published in 2000),{{CN|date=December 2023}} ''Q''{{'}}s "The 50 (+50) Best British Albums Ever" (2004),{{CN|date=December 2023}} ''Mojo''{{'}}s "70 of the Greatest Albums of the 70s" (2006),{{CN|date=December 2023}} the ''NME''{{'}}s "100 Greatest British Albums Ever" (2006; number 86),{{CN|date=December 2023}} ''[[Paste (magazine)|Paste]]'' magazine's "The 70 Best Albums of the 1970s" (2012; number 27),{{CN|date=December 2023}} and [[Craig Mathieson]] and [[Toby Creswell]]'s ''The 100 Best Albums of All Time'' (2013).<ref>{{cite book |last1=Creswell |first1=Toby |last2=Mathieson |first2=Craig |title=The 100 Best Albums of All Time |date=2013 |publisher=Hardie Grant Books |location=Richmond, VIctoria |isbn=9781742703015 |page=138}}</ref>

In January 2014, ''All Things Must Pass'' was inducted into the [[Grammy Hall of Fame]],<ref>Kyle McGovern, [https://www.spin.com/2013/12/grammy-hall-of-fame-2014-inductees-u2-neil-young-run-dmc-rolling-stones/ "Grammy Hall of Fame 2014 Inductees: U2, Neil Young, Run-D.M.C., Rolling Stones, and More"], ''[[Spin (magazine)|Spin]]'', 3 December 2013 (retrieved 3 March 2015).</ref> an award bestowed by the [[Recording Academy]] "to honor recordings of lasting qualitative or historical significance that are at least 25 years old".<ref name="Grammy HofF" /> [[Colin Hanks]] titled his 2015 film ''[[All Things Must Pass: The Rise and Fall of Tower Records]]'' after the album and, with the blessing of Harrison's widow, [[Olivia Harrison]], used the title track over the end credits.<ref name="Kubernik/MusicConnection">Harvey Kubernik, [https://www.musicconnection.com/kubernik-george-harrison-all-things-must-pass-50th-anniversary/ "George Harrison 'All Things Must Pass' 50th Anniversary"], ''[[Music Connection]]'', 10 November 2020 (retrieved 12 November 2020).</ref>

==Subsequent releases==

===2001===
[[File:All Things Must Pass 2001, urban encroachment no. 3.jpg|thumb|right|upright=1.5|Front cover of the 2001 album booklet, reflecting Harrison's environmental concerns at the start of the 21st century]]
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.<ref>Tillery, p. 146.</ref>{{refn|group=nb|EMI had scheduled the release for 21 November 2000, close to the true date for the anniversary, but the album was delayed for two months.<ref>Badman, pp. 686, 689.</ref>}} Ken Scott engineered the reissue,<ref name="ATMP 2001 bk" /> which was remastered by [[Jon Astley]].<ref>Huntley, pp. 305–06.</ref> Harrison and Scott were shocked at the amount of [[reverb]] they had used in 1970<ref>MacFarlane, p. 157.</ref> and were keen to remix the album, but EMI vetoed the idea.<ref name="Burns/RBMA" />

The reissue appeared on Gnome Records, a label set up by Harrison for the project.<ref>Leng, p. 284.</ref> Harrison also oversaw revisions to Wilkes and Feinstein's album artwork,<ref name="Huntley p 305" /> which included a colourised "George & the Gnomes" front cover<ref name="Huntley p 305" /> and, on the two CD sleeves and the album booklet, further examples of this cover image showing an imaginary, gradual encroachment of urbanisation on the Friar Park landscape.<ref name="Spizer p 228" />{{refn|group=nb|In Britain, Gnome/EMI released the remastered album on vinyl also, the packaging for which contained four stages in this pictorial series compared with the three available in the CD box.<ref name="Spizer p 228" /> The revised artwork for ''All Things Must Pass'' was credited to WhereforeArt?<ref name="Spizer p 228" />}} The latter series served to illustrate Harrison's dismay at "the direction the world seemed headed at the start of the millennium", Gary Tillery observes, a direction that was "so far afield from the [[Age of Aquarius]] that had been the dream of the sixties".<ref>Tillery, p. 147.</ref>{{refn|group=nb|Adding to this ecological message, during promotion for the reissue, Harrison jokingly suggested that the title for his next studio album, the long-awaited follow-up to ''[[Cloud Nine (George Harrison album)|Cloud Nine]]'' (1987), might be ''Your Planet Is Doomed – Volume One''.<ref>Huntley, pp. 309–10.</ref>}} Harrison launched a website dedicated to the reissue, which offered, in the description of Chuck Miller of ''[[Goldmine (magazine)|Goldmine]]'' magazine, "graphics and sounds and little Macromedia-created gnomes dancing and giggling and playing guitars in a [[Terry Gilliam]]-esque world".<ref>Chuck Miller, "Collectormania!: Death and Silly Prices – All Things Must (and Will) Pass", ''[[Goldmine (magazine)|Goldmine]]'', 25 January 2002, p. 26.</ref> As a further example of his willingness to embrace modern media,<ref>Huntley, pp. 308–09.</ref> 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".<ref name="Reid/Elsewhere">Graham Reid, [http://www.elsewhere.co.nz/absoluteelsewhere/6583/george-harrison-revisited-part-one-2014-the-dark-horse-bolting-out-of-the-gate/ "George Harrison Revisited, Part One (2014): The dark horse bolting out of the gate"], ''[[Elsewhere (website)|Elsewhere]]'', 24 October 2014 (retrieved 2 March 2016).</ref>

Titled ''All Things Must Pass: 30th Anniversary Edition'', the new album contained five bonus tracks, including "I Live for You",<ref>Ingham, p. 133.</ref> two of the songs performed for Spector at EMI Studios in May 1970 ("[[Beware of Darkness (song)#Cover versions|Beware of Darkness]]" and "[[Let It Down#Acoustic version|Let It Down]]") and "[[My Sweet Lord#2001 – "My Sweet Lord (2000)"|My Sweet Lord (2000)]]", a partial re-recording of Harrison's biggest solo hit.<ref>Leng, pp. 284–85.</ref> In addition, Harrison resequenced the content of ''Apple Jam'' so that the album closed with "Out of the Blue", as he had originally intended.<ref name="BB 2000" /><ref name="Huntley p 305" /> Assisting Harrison with overdubs on the bonus tracks were his son, [[Dhani Harrison]], singer [[Sam Brown (singer)|Sam Brown]] and percussionist [[Ray Cooper]],<ref name="BB 2000" /> all of whom contributed to the recording of ''Brainwashed'' around this time.<ref>Leng, pp. 299, 304.</ref> 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.<ref name="Burns/RBMA" />

With Harrison undertaking extensive promotional work, the 2001 reissue was a critical and commercial success.<ref>Huntley, pp. 307–08.</ref> Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America.<ref>Huntley, p. 307.</ref> There, the reissue debuted at number 4 on ''Billboard''{{'}}s [[Top Pop Catalog Albums]] chart<ref name="BB Pop Cat 2001">[https://books.google.com/books?id=ghMEAAAAMBAJ&dq=%22all+things+must+pass%22&pg=PA13 "''Billboard'' Top Pop Catalog Albums"], ''[[Billboard (magazine)|Billboard]]'', 10 February 2001, p. 13 (retrieved 11 February 2013).</ref> and topped the magazine's Internet Album Sales listings.<ref name="USchart" /> In the UK, it peaked at number 68 on the national albums chart.<ref name="UKchart">[http://www.officialcharts.com/artist/_/george%20harrison/ "Artist: George Harrison" > Albums > "All Things Must Pass: Chart Facts"], [[Official Charts Company]] (retrieved 3 March 2016).</ref> Writing in ''Record Collector'', Doggett described this success as "a previously unheard-of achievement for a reissue".<ref>Peter Doggett, "Editorial: The Virtues of Vinyl?", ''[[Record Collector]]'', April 2001, p. 2.</ref>

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.<ref name="BB charts 2002">[https://books.google.com/books?id=wA8EAAAAMBAJ&dq=%22all+things+must+pass%22&pg=PA66 "''Billboard'' charts"], ''[[Billboard (magazine)|Billboard]]'', 26 January 2002, p. 66 (retrieved 11 February 2013).</ref> With the release on [[iTunes]] of much of the Harrison catalogue, in October 2007,<ref>Jonathan Cohen, [http://www.billboard.com/articles/news/1048327/george-harrison-catalog-goes-digital "George Harrison Catalog Goes Digital"], [[Billboard (magazine)|billboard.com]], 10 October 2007 (retrieved 10 December 2014).</ref> the album re-entered the US Top Pop Catalog chart, peaking at number 3.<ref name="BB charts 2007">[https://books.google.com/books?id=rw4EAAAAMBAJ&dq=%22all+things+must+pass%22&pg=PA78 "''Billboard'' Top Pop Catalog"], ''[[Billboard (magazine)|Billboard]]'', 27 October 2007, p. 78 (retrieved 11 February 2013).</ref>

===2010===
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.<ref name="Second Disc" /><ref name="Glide/40Anniv">[http://www.glidemagazine.com/16972/george-harrison-40th-anniv-all-things-must-pass-3-lp-collection/ "George Harrison 40th Anniv 'All Things Must Pass' 3 LP Collection"], Glide Magazine, 4 November 2010 (retrieved 7 December 2015).</ref> Each copy was individually numbered.<ref>Daniel Kreps, [https://www.rollingstone.com/music/news/george-harrisons-all-things-must-pass-to-be-reissued-20101020 "George Harrison's 'All Things Must Pass' to Be Reissued"] {{Webarchive|url=https://web.archive.org/web/20171003030115/http://www.rollingstone.com/music/news/george-harrisons-all-things-must-pass-to-be-reissued-20101020 |date=3 October 2017 }}, [[Rolling Stone|rollingstone.com]], 20 October 2010 (retrieved 22 November 2014).</ref><ref>Emily Costantino, [http://www.magnetmagazine.com/2010/10/24/in-the-news-robert-pollard-the-pains-of-being-pure-at-heart-massive-attack-smashing-pumpkins-george-harrison-inxs-bad-religion-and-more/ "In the News: Robert Pollard, The Pains of Being Pure at Heart, Massive Attack, Smashing Pumpkins, George Harrison, INXS, Bad Religion and more"], ''[[Magnet (magazine)|Magnet]]'', October 2010 (retrieved 16 November 2014).</ref> 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,<ref name="PopMatters review 135411" /> a digitally remastered 24-bit version of the album was made available for download from Harrison's official website.<ref name="Second Disc">Mike Duquette, [http://theseconddisc.com/2010/10/19/all-things-come-to-pass/ "All Things Come to Pass"], theseconddisc.com, 19 October 2010 (retrieved 16 November 2014).</ref><ref name="Glide/40Anniv" /> The reissue coincided with the Harrison estate's similarly low-key<ref name="Marchese/Second Disc">Joe Marchese, [http://theseconddisc.com/2010/11/08/review-ravi-shankar-and-george-harrison-collaborations/ "Review: Ravi Shankar and George Harrison, 'Collaborations'"], theseconddisc.com, 8 November 2010 (retrieved 10 March 2015).</ref> release of the [[Ravi Shankar]]–George Harrison box set ''[[Collaborations (Ravi Shankar and George Harrison album)|Collaborations]]''<ref name="TimeOutNY">Sophie Harris, Jay Ruttenberg & Mikael Wood, [https://web.archive.org/web/20170928103037/https://www.timeout.com/newyork/music/beatles-and-friends-box-sets-and-reissues "Even though the Beatles are finally on iTunes, you'll want these groovy sets"], ''[[Time Out (magazine)|Time Out New York]]'', 22 November 2010 (archived version retrieved 28 September 2017).</ref> and [[East Meets West Music]]'s reissue of ''[[Raga (film)|Raga]]'', the long-unavailable documentary on Shankar that Harrison had helped release through [[Apple Films]] in 1971.<ref>[https://web.archive.org/web/20131023060634/http://eastmeetswestmusic.com/news.html News: "8/15/10 ''Raga'' DVD"], [[East Meets West Music|eastmeetswest.com]], 15 August 2010 (archived version retrieved 12 August 2014).</ref><ref>Jeff Kaliss, [https://web.archive.org/web/20110710164704/http://eastmeetswestmusic.com/files/songlinesreview.jpg "Ravi Shankar ''Raga: A Film Journey into the Soul of India''"], ''[[Songlines (magazine)|Songlines]]'', 26 November 2010, p. 85 (archived version retrieved 10 March 2015).</ref>

===2014===
''All Things Must Pass'' was remastered again for the eight-disc Harrison box set ''[[The Apple Years 1968–75]]'',<ref name="Grow/RSonline" /> issued in September 2014.<ref name="Horowitz/AmSong">Hal Horowitz, [http://www.americansongwriter.com/2014/09/george-harrison-apple-years-1968-75/ "George Harrison: ''The Apple Years, 1968–75''"], ''[[American Songwriter]]'', 23 September 2014 (retrieved 4 October 2014).</ref> Also available as a separate, double-CD release, the reissue reproduces Harrison's 2001 liner notes<ref name="Marchese/Review">Joe Marchese, [http://theseconddisc.com/2014/09/23/review-the-george-harrison-remasters-the-apple-years-1968-1975/ "Review: The George Harrison Remasters – 'The Apple Years 1968–1975'"], theseconddisc.com, 23 September 2014 (retrieved 4 October 2014).</ref> and includes the same five bonus tracks that appeared on the 30th anniversary edition.<ref name="Grow/RSonline">Kory Grow, [https://www.rollingstone.com/music/news/george-harrisons-first-six-studio-albums-to-get-lavish-reissues-20140902 "George Harrison's First Six Studio Albums to Get Lavish Reissues"] {{Webarchive|url=https://web.archive.org/web/20171023120321/https://www.rollingstone.com/music/news/george-harrisons-first-six-studio-albums-to-get-lavish-reissues-20140902 |date=23 October 2017 }}, [[Rolling Stone|rollingstone.com]], 2 September 2014 (retrieved 4 October 2014).</ref> In addition, the box set's DVD contains the promotional film created for the 2001 reissue.<ref name="Marchese/SecondDisc">Joe Marchese, [http://theseconddisc.com/2014/09/02/give-me-love-george-harrisons-apple-years-are-collected-on-new-box-set/ "Give Me Love: George Harrison's 'Apple Years' Are Collected On New Box Set"], theseconddisc.com, 2 September 2014 (retrieved 4 October 2014).</ref>

===2020–2021===
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.<ref>Emily Tan, [https://www.spin.com/2020/11/george-harrison-estate-releases-stereo-mix-of-all-things-must-pass/ "George Harrison Estate Releases Stereo Mix of 'All Things Must Pass'"], ''[[Spin (magazine)|Spin]]'', 27 November 2020 (retrieved 27 November 2020).</ref> 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]].<ref>[https://web.archive.org/web/20201121130324/https://www.bbc.co.uk/programmes/m000pljn "All Things Must Pass at 50"], [[BBC Online]], 21 November 2020 (archived version retrieved 29 November 2020).</ref>

On 10 June 2021, the release of a 50th anniversary edition was officially announced for 6 August.<ref name="Friedman/Paste" /> The reissue is available in seven varieties, from Standard vinyl and CD editions up to an Uber Deluxe Edition box set.<ref name="Sinclair/SDE">Paul Sinclair, [https://superdeluxeedition.com/news/george-harrison-all-things-must-pass-50th-anniversary-editions/ "George Harrison / All Things Must Pass 50th anniversary editions"], ''Super Deluxe Edition'', 10 June 2021 (retrieved 14 June 2021).</ref> The most extensive editions contain 70 tracks across 5 CDs/8LPs, including outtakes, jams and 47 demos, 42 of which are previously unreleased,<ref name="YouTube All Things Must Pass 50th Anniversary Official Trailer">[https://www.youtube.com/watch?v=NvoEtEx95tk "All Things Must Pass 50th Anniversary (Official Trailer)], George Harrison at [[YouTube]], 10 June 2021 (retrieved 11 June 2021).</ref> and a scrapbook containing archival notes and track-by-track annotation curated by Olivia Harrison.<ref name="Sinclair/SDE" /> The Uber Deluxe set adds a 44-page book on the creation of the 1970 triple album,<ref name="Friedman/Paste">Jason Friedman, [https://www.pastemagazine.com/music/george-harrison/george-harrison-all-things-must-pass-deluxe-reissu/ "George Harrison's ''All Things Must Pass'' Getting 50th Anniversary Deluxe Reissue"], ''[[Paste (magazine)|Paste]]'', 10 June 2021 (retrieved 10 June 2021).</ref> 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.<ref name="Sinclair/SDE" />

On [[Metacritic]], the Super Deluxe Edition has an aggregate score of 92 out of 100, based on eight reviews – indicating what the website defines as "universal acclaim".<ref>[https://www.metacritic.com/music/all-things-must-pass-50th-anniversary-super-deluxe-edition-box-set/george-harrison "All Things Must Pass <nowiki>[50th Anniversary Super Deluxe Edition]</nowiki> (Box Set)"], [[Metacritic]] (retrieved 2 October 2021).</ref> The release received maximum scores from ''Mojo'', ''The Times'', ''[[The Daily Telegraph]]'', the ''[[Daily Mail]]'', the ''[[Daily Express]]'', ''Uncut'' and ''[[American Songwriter]]''.<ref name="UMeCatalog">[https://www.umgcatalog.com/news/george-harrisons-all-things-must-pass-returns-top-10-50th-anniversary-edition-debuts-7 "George Harrison's 'All Things Must Pass' Returns to Top 10 as 50th Anniversary Edition Debuts at #7 on Billboard 200"], [[Universal Music Enterprises|umgcatalog.com]], 17 August 2021 (retrieved 3 October 2021).</ref> It peaked at number 6 in the UK and number 7 on the [[Billboard 200|''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.<ref name="UMeCatalog" /> In 2022, the 50th anniversary box set won the [[Grammy Award]] for [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Boxed or Special Limited Edition Package]].<ref>[https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees?t=1649107932792&t=1649118611950 "2022 Grammy Awards: The full list of nominees and winners"], [[NPR|npr.org]], 3 April 2022 (retrieved 5 April 2022).</ref>

==Track listing==
All songs written by [[George Harrison]], except where noted.

===Original release===
'''Side one'''
#"[[I'd Have You Anytime]]" (Harrison, [[Bob Dylan]]) – 2:56
#"[[My Sweet Lord]]" – 4:38
#"[[Wah-Wah (song)|Wah-Wah]]" – 5:35
#"[[Isn't It a Pity|Isn't It a Pity (Version One)]]" – 7:10

'''Side two'''
#"[[What Is Life]]" – 4:22
#"[[If Not for You#George Harrison's version|If Not for You]]" (Dylan) – 3:29
#"[[Behind That Locked Door]]" – 3:05
#"[[Let It Down]]" – 4:57
#"[[Run of the Mill (George Harrison song)|Run of the Mill]]" – 2:49

'''Side three'''
#"[[Beware of Darkness (song)|Beware of Darkness]]" – 3:48
#"[[Apple Scruffs (song)|Apple Scruffs]]" – 3:04
#"[[Ballad of Sir Frankie Crisp (Let It Roll)]]" – 3:48
#"[[Awaiting on You All]]" – 2:45
#"[[All Things Must Pass (song)|All Things Must Pass]]" – 3:44

'''Side four'''
#"[[I Dig Love]]" – 4:55
#"[[Art of Dying (song)|Art of Dying]]" – 3:37
#"[[Isn't It a Pity|Isn't It a Pity (Version Two)]]" – 4:45
#"[[Hear Me Lord]]" – 5:46

'''Side five (''[[Apple Jam]]'')'''
#"[[Apple Jam#"Out of the Blue"|Out of the Blue]]" – 11:14
#"[[Apple Jam#"It's Johnny's Birthday"|It's Johnny's Birthday]]" ([[Bill Martin (musician)|Bill Martin]], [[Phil Coulter]], Harrison) – 0:49
#"[[Apple Jam#"Plug Me In"|Plug Me In]]" – 3:18

'''Side six (''Apple Jam'')'''
#"[[Apple Jam#"I Remember Jeep"|I Remember Jeep]]" – 8:07
#"[[Apple Jam#"Thanks for the Pepperoni"|Thanks for the Pepperoni]]" – 5:31

===2001 remaster===

'''Disc one'''

Sides one and two were combined as tracks 1–9, with the following additional tracks:
#<li value="10">"[[I Live for You]]" – 3:35
#"[[Beware of Darkness (song)#Cover versions|Beware of Darkness]]" (acoustic demo) – 3:19
#"[[Let It Down#Other versions|Let It Down]]" (alternate version) – 3:54
#"[[What Is Life#Re-releases and other versions|What Is Life]]" (backing track/alternate mix) – 4:27
#"[[My Sweet Lord#2001 – "My Sweet Lord (2000)"|My Sweet Lord (2000)]]" – 4:57

'''Disc two'''

Sides three and four were combined as tracks 1–9, followed by the reordered ''Apple Jam'' tracks.
#<li value="10">"It's Johnny's Birthday" (Martin, Coulter, Harrison) – 0:49
#"Plug Me In" – 3:18
#"I Remember Jeep" – 8:07
#"Thanks for the Pepperoni" – 5:31
#"Out of the Blue" – 11:16

===2021 50th Anniversary Super Deluxe Box===

'''Disc one''' –  Remixed (2020) versions of sides 1 and 2.

'''Disc two''' – Remixed (2020) versions of sides 3 and 4, remastered versions of sides 5 and 6.

'''Disc three'''

#"All Things Must Pass" (Day 1 Demo) – 4:38
#"Behind That Locked Door" (Day 1 Demo) – 2:54
#"I Live for You" (Day 1 Demo) – 3:26
#"Apple Scruffs" (Day 1 Demo) – 2:48
#"What Is Life" (Day 1 Demo) – 4:46
#"Awaiting on You All" (Day 1 Demo) – 2:30
#"Isn't It a Pity" (Day 1 Demo) – 3:19
#"I'd Have You Anytime" (Day 1 Demo) (Harrison, Dylan) – 2:10
#"I Dig Love" (Day 1 Demo) – 3:35
#"Going Down to Golders Green" (Day 1 Demo) – 2:24
#"Dehra Dun" (Day 1 Demo) – 3:39
#"Om Hare Om (Gopala Krishna)" (Day 1 Demo) – 5:13
#"Ballad of Sir Frankie Crisp (Let It Roll)" (Day 1 Demo) – 3:41
#"My Sweet Lord" (Day 1 Demo) – 3:21
#"[[Sour Milk Sea]]" (Day 1 Demo) – 2:28

'''Disc four'''

#"Run of the Mill" (Day 2 Demo) – 1:54
#"Art of Dying" (Day 2 Demo) – 3:04
#"[[Ballad of Sir Frankie Crisp (Let It Roll)#Composition|Everybody-Nobody]]" (Day 2 Demo) – 2:20
#"Wah-Wah" (Day 2 Demo) – 4:24
#"[[Beware of ABKCO!#Songs exclusive to the album|Window Window]]" (Day 2 Demo) – 1:53
#"[[Beautiful Girl (George Harrison song)|Beautiful Girl]]" (Day 2 Demo) – 2:39
#"Beware of Darkness" (Day 2 Demo) – 3:20
#"Let It Down" (Day 2 Demo) – 3:57
#"Tell Me What Has Happened to You" (Day 2 Demo) – 2:57
#"Hear Me Lord" (Day 2 Demo) – 4:57
#"[[Beware of ABKCO!#Songs exclusive to the album|Nowhere to Go]]" (Day 2 Demo) (Harrison, Dylan) – 2:44
#"[[Beware of ABKCO!#Songs exclusive to the album|Cosmic Empire]]" (Day 2 Demo) – 2:12
#"[[Beware of ABKCO!#Songs exclusive to the album|Mother Divine]]" (Day 2 Demo) – 2:45
#"[[I Don't Want to Do It]]" (Day 2 Demo) (Dylan) – 2:05
#"If Not for You" (Day 2 Demo) (Dylan) – 1:48

'''Disc five'''

#"Isn't It a Pity" (take 14) – 0:53
#"Wah-Wah" (take 1) – 5:56
#"I'd Have You Anytime" (take 5) (Harrison, Dylan) – 2:48
#"Art of Dying" (take 1) – 2:48
#"Isn't It a Pity" (take 27) – 4:01
#"If Not For You" (take 2) (Dylan) – 2:59
#"[[Wedding Bells Are Breaking Up That Old Gang of Mine|Wedding Bells (Are Breaking Up That Old Gang of Mine)]]" (take 1) (Sammy Fain, [[Irving Kahal]], Willie Raskin) – 1:56
#"What Is Life" (take 1) – 4:34
#"Beware of Darkness" (take 8) – 3:48
#"Hear Me Lord" (take 5) – 9:31
#"Let It Down" (take 1) – 4:13
#"Run of the Mill" (take 36) – 2:28
#"Down to the River (Rocking Chair Jam)" (take 1) – 2:30
#"[[Get Back]]" (take 1) ([[John Lennon]], [[Paul McCartney]]) – 2:07
#"Almost 12 Bar Honky Tonk" (take 1) – 8:34
#"It's Johnny's Birthday" (take 1) (Martin, Coulter, Harrison) – 0:59
#"[[Woman Don't You Cry for Me]]" (take 5) – 5:01

==Personnel==
The following musicians are either credited on the 2001 reissue of ''All Things Must Pass''<ref name="ATMP 2001 bk">Booklet accompanying ''All Things Must Pass'' reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).</ref> or are acknowledged as having contributed after subsequent research:<ref>Leng, pp. 78, 82–102.</ref>

{{div col}}
* [[George Harrison]] – vocals, electric and acoustic guitars, [[Dobro]], [[harmonica]], [[Moog synthesizer]], [[Pump organ|harmonium]], backing vocals; bass guitar (2001 reissue only)
* [[Eric Clapton]] – electric and acoustic guitars, backing vocals
* [[Gary Wright]] – piano, organ, [[electric piano]]
* [[Bobby Whitlock]] – organ, harmonium, piano, [[tubular bells]],<ref>Whitlock, pp. 75–76, 79–82.</ref> backing vocals
* [[Klaus Voormann]] – bass guitar, electric guitar on "Out of the Blue"{{refn|group=nb|In Leng's book, Voormann states it was him playing lead guitar with Harrison on "Out of the Blue" and not Clapton, as credited by Harrison on the ''Apple Jam'' sleeve: "[George] thought it was Eric, because I was playing a little thing like Eric."<ref>Leng, p. 102fn.</ref>}}
* [[Jim Gordon (musician)|Jim Gordon]] – drums
* [[Carl Radle]] – bass guitar
* [[Ringo Starr]] – drums, [[percussion]]
* [[Billy Preston]] – organ, piano
* [[Jim Price (musician)|Jim Price]] – [[trumpet]], [[trombone]]
* [[Bobby Keys]] – [[saxophones]]
* [[Alan White (Yes drummer)|Alan White]] – drums, [[vibraphone]]
* [[Pete Drake]] – [[Pedal steel guitar|pedal steel]]
* [[John Barham]] – orchestral arrangements, [[choral]] arrangement,<ref>Harry, p. 24.</ref> harmonium, vibraphone
* [[Pete Ham]] – acoustic guitar
* [[Tom Evans (musician)|Tom Evans]] – acoustic guitar
* [[Joey Molland]] – acoustic guitar
* [[Mike Gibbins]] – percussion
* [[Peter Frampton]] – acoustic guitar<ref name="Harry p 180" />
* [[Dave Mason]] – electric and acoustic guitars
* [[Tony Ashton]] – piano
* [[Gary Brooker]] – piano
* [[Mal Evans]] – percussion, vocal on "It's Johnny's Birthday", "tea and sympathy" 
* [[Ginger Baker]] – drums on "I Remember Jeep"
* [[John Lennon]] – handclaps on "I Remember Jeep"
* [[Yoko Ono]] – handclaps on "I Remember Jeep"
* [[Al Aronowitz]] – unspecified contribution on "Out of the Blue"
* Eddie Klein – vocal on "It's Johnny's Birthday"
* [[Dhani Harrison]] – acoustic guitar, electric piano, backing vocals (2001 reissue only)
* [[Sam Brown (singer)|Sam Brown]] – vocals, backing vocals (2001 reissue only)
* [[Ray Cooper]] – percussion, [[synthesizer]] (2001 reissue only)
{{div col end}}

==Accolades==
===Grammy Awards===
{{Awards table}}
|-
| width="35" align="centre" rowspan="2"|[[14th Grammy Awards|1972]] || ''All Things Must Pass'' || [[Grammy Award for Album of the Year#1970s|Album of the Year]]<ref name="1972Grammys">[http://www.awardsandshows.com/features/grammy-awards-1972-221.html "Grammy Awards 1972"], awardsandshows.com (retrieved 17 September 2014).</ref> || {{nom}}
|-
| "My Sweet Lord" || [[Grammy Award for Record of the Year|Record of the Year]]<ref name="1972Grammys" />|| {{nom}}
|-
| width="35" align="centre" rowspan="1"|[[56th Grammy Awards|2014]] || ''All Things Must Pass'' || [[Grammy Hall of Fame|Hall of Fame Award]]<ref name="Grammy HofF">[https://web.archive.org/web/20150707235113/http://www.grammy.org/recording-academy/awards/hall-of-fame "Grammy Hall of Fame"], grammy.org (archived version retrieved 7 July 2015).</ref> || {{won}}
|-
| width="35" align="centre" rowspan="1"|[[64th Grammy Awards|2022]] || ''All Things Must Pass'' || [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Boxed or Special Limited Edition Package]]<ref>[https://www.grammy.com/awards/64th-annual-grammy-awards-2021 "2021 Grammy Winners"], [[Grammy Awards|grammy.com]] (retrieved 7 April 2022).</ref> || {{won}}
|-

{{End}}

==Charts==
===Weekly charts===
{{col-begin}}
{{col-2}}
'''Original release'''
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
! scope="col"|Chart (1970–1971)
! scope="col"|Peak<br />position
|-
! scope="row"|Australian [[Go-Set|''Go-Set'' Top 20 Albums]]<ref>[http://www.poparchives.com.au/gosetcharts/1971/19710403.html#albums "Go-Set Australian charts – 3 April 1971"] {{Webarchive|url=https://web.archive.org/web/20110629171601/http://www.poparchives.com.au/gosetcharts/1971/19710403.html#albums |date=29 June 2011 }}, poparchives.com.au (retrieved 22 February 2017).</ref>
|1
|-
! scope="row"|Australian [[Kent Music Report]]<ref name="auchart">David Kent, ''[[Kent Music Report|Australian Chart Book 1970–1992]]'', Australian Chart Book (St Ives, NSW, 1993).</ref>
|1
|-
! scope="row"|Canadian [[RPM (magazine)|''RPM'' 100 Albums]]<ref>{{cite web|url=http://www.collectionscanada.gc.ca/obj/028020/f2/nlc008388.3735.pdf| title=RPM Top 100 Albums - December 26, 1970}}</ref>
|1
|-
! scope="row"|Dutch [[MegaCharts|MegaCharts Albums]]<ref name="nlchart">[http://dutchcharts.nl/showitem.asp?interpret=George+Harrison&titel=All+Things+Must+Pass&cat=a "George Harrison – All Things Must Pass"], dutchcharts.nl (retrieved 12 September 2011).</ref>
|1
|-
! scope="row"|Japanese [[Oricon|Oricon LP Chart]]<ref name="jpchart" />
|4
|-
! scope="row"|Norwegian [[VG-lista|VG-lista Albums]]<ref name="norchart">[http://norwegiancharts.com/showitem.asp?interpret=George+Harrison&titel=All+Things+Must+Pass&cat=a "George Harrison – All Things Must Pass"], norwegiancharts.com (retrieved 12 September 2011).</ref>
|1
|-
! scope="row"|[[Spanish Albums Chart]]<ref>Fernando Salaverri, ''Sólo éxitos: Año a año, 1959–2002'', Fundación Autor-SGAE (Spain, 2005; {{ISBN|84-8048-639-2}}).</ref> 
|1
|-
! scope="row"|Swedish [[Sverigetopplistan|Kvällstoppen Chart]]<ref name="swechart">[http://www.hitsallertijden.nl/charts/swedish%20charts/SwedishCharts%200969-0872.pdf "Swedish Charts 1969–1972/Kvällstoppen – Listresultaten vecka för vecka" > Februari 1971 > 9 Februari] (in Swedish), hitsallertijden.nl (retrieved 13 February 2013). ''Note: [[Sverigetopplistan|Kvällstoppen]] combined sales for albums and singles in the one chart; ''All Things Must Pass'' topped the albums listings for six weeks from 2 February to 9 March 1971.''</ref>
|1
|-
! scope="row"|[[UK Albums Chart]]<ref name="UKchart" />
|1
|-
! scope="row"|US [[Billboard 200|''Billboard'' Top LPs]]<ref name="USchart">[https://web.archive.org/web/20150220010028/http://www.allmusic.com/artist/george-harrison-mn0000209142/awards "All Things Must Pass" > Charts & Awards > Billboard Albums], [[AllMusic]] (archived version retrieved 16 November 2020).</ref>
|1
|-
! scope="row"|US ''[[Cashbox (magazine)|Cash Box]]'' Top 100 Albums<ref>"Cash Box Top 100 Albums", ''[[Cashbox (magazine)|Cash Box]]'', 9 January 1971, p. 21.</ref>
|1
|-
! scope="row"|US ''[[Record World]]'' Album Chart<ref>Frank Mitchell (ed.), "The Album Chart", ''[[Record World]]'', 16 January 1971, p. 30.</ref>
|1
|-
! scope="row"|West German [[GfK Entertainment charts|Media Control Albums]]<ref name="dechart">[https://web.archive.org/web/20140717131113/http://www.officialcharts.de/album.asp?artist=George+Harrison&title=All+Things+Must+Pass&country=de "Album – George Harrison, All Things Must Pass"], charts.de (retrieved 11 February 2013).</ref>
|10
|}
{{col-2}}
'''Reissue'''
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
! scope="col"|Chart (2001)
! scope="col"|Peak<br />position
|-
! scope="row"|French [[SNEP|SNEP Albums Chart]]<ref name="snep">[https://web.archive.org/web/20150509014530/http://www.infodisc.fr/Albums_Detail.php "Tous les Albums classés par Artiste" > Choisir un Artiste dans la Liste] (in French), infodisc.fr (archive version retrieved 13 February 2013).</ref>
|68
|-
! scope="row"|Japanese [[Oricon]] Albums Chart<ref name="jpchart">[http://homepage1.nifty.com/tuty/after_beatles_george_albumchartaction_japan.htm "George Harrison: Chart Action (Japan)"] {{Webarchive|url=https://web.archive.org/web/20090203002556/http://homepage1.nifty.com/tuty/after_beatles_george_albumchartaction_japan.htm/ |date=3 February 2009 }}, homepage1.nifty.com (retrieved 11 February 2013).</ref>
|46
|-
! scope="row"|[[UK Albums Chart]]<ref name="UKchart" />
|68
|-
! scope="row"|US [[Top Pop Catalog Albums|''Billboard'' Top Pop Catalog Albums]]<ref name="BB charts 2007"/>
|3
|}

'''50th anniversary edition'''
{| class="wikitable sortable plainrowheaders" style="text-align:center"
! scope="col"| Chart (2021)
! scope="col"| Peak<br />position
|-
! scope="row"| Australian Top Albums<ref>[https://australian-charts.com/showitem.asp?interpret=George+Harrison&titel=All+Things+Must+Pass&cat=a "George Harrison –&nbsp;All Things Must Pass (album)"], australiancharts.com (retrieved 3 October 2021).</ref>
|9
|-
{{album chart|Austria|4|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=17 August 2021}}
|-
{{album chart|Flanders|5|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=15 August 2021}}
|-
{{album chart|Wallonia|8|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=15 August 2021}}
|-
{{album chart|BillboardCanada|49|artist=George Harrison|rowheader=true|access-date=17 August 2021}}
|-
{{album chart|Denmark|27|M|url=http://hitlisten.nu/default.asp?w=32&y=2021&list=a40|title=Hitlisten.NU – Album Top-40 Uge 32, 2021|publisher=[[Hitlisten]]|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=17 August 2021}}
|-
! scope="row"| Finnish Albums ([[The Official Finnish Charts|Suomen virallinen lista]])<ref>{{cite web|url=https://www.ifpi.fi/lista/albumit/2021/32/|title=Albumit 32/2021|publisher=[[Musiikkituottajat]]|language=fi|access-date=15 August 2021}}</ref>
| 26
|-
{{album chart|Germany4|2|id=12655|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=13 August 2021}}
|-
{{album chart|Ireland3|22|date=20210813|rowheader=true|access-date=13 August 2021}}
|-
! scope="row"| Italian Albums ([[Federazione Industria Musicale Italiana|FIMI]])<ref>{{cite web|url=https://www.fimi.it/top-of-the-music/classifiche.kl#/charts/1/2021/32|title=Album – Classifica settimanale WK 32 (dal 6.8.2021 al 12.8.2021)|publisher=[[Federazione Industria Musicale Italiana]]|language=it|access-date=14 August 2021}}</ref>
| 38
|-
! scope="row"| New Zealand Albums ([[Recorded Music NZ|RMNZ]])<ref>{{cite web|url=https://aotearoamusiccharts.co.nz/archive/albums/2021-09-10|title=NZ Top 40 Albums Chart|publisher=[[Recorded Music NZ]]|date=16 August 2021|access-date=14 August 2021}}</ref>
| 36
|-
{{album chart|Portugal|19|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=4 September 2021}}
|-
{{album chart|Scotland|1|date=20210813|rowheader=true|access-date=13 August 2021}}
|-
! scope="row"| Swedish Albums ([[Sverigetopplistan]])<ref>{{cite web|url=https://www.sverigetopplistan.se/chart/54?dspy=2021&dspp=32|title=Veckolista Album, vecka 32|publisher=[[Sverigetopplistan]]|access-date=13 August 2021}}</ref>
| 13
|-
{{album chart|Switzerland|3|artist=George Harrison|album=All Things Must Pass|rowheader=true|access-date=15 August 2021}}
|-
{{album chart|UK2|6|date=20210813|rowheader=true|access-date=13 August 2021}}
|-
! scope="row"|US [[Billboard 200|''Billboard'' 200]]<ref>Keith Caulfield, [https://www.billboard.com/articles/news/9615104/george-harrison-all-things-must-pass-returns-billboard-200-albums-chart "George Harrison's 'All Things Must Pass' Album Returns to Top 10 on Billboard 200 Chart After 50th Anniversary Reissue"], [[Billboard (magazine)|billboard.com]], 16 August 2021 (retrieved 28 August 2021).</ref>
|7
|-
{{album chart|BillboardRock|1|artist=George Harrison|rowheader=true|access-date=17 August 2021}}
|}
{{col-end}}

===Year-end charts===
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
! scope="col"|Chart (1971)
! scope="col"|Position
|-
! scope="row"|Australian Kent Music Report<ref name="auchart" />
|5
|-
! scope="row"|Dutch Albums Chart<ref>[http://dutchcharts.nl/jaaroverzichten.asp?year=1971&cat=a "Jaaroverzichten – Album 1971"], dutchcharts.nl (retrieved 10 March 2015).</ref>
|11
|-
! scope="row"|US [[Billboard Year-End|''Billboard'' Year-End]]<ref name="USYearend">[http://www005.upp.so-net.ne.jp/meichiku/bl701.HTM#70 "Billboard 1970's Album Top 50 (Part 1)" > 1971] {{Webarchive|url=https://web.archive.org/web/20120306022530/http://www005.upp.so-net.ne.jp/meichiku/bl701.HTM#70 |date=6 March 2012 }}, 7 December 2007 (retrieved 13 February 2013).</ref>
|18
|}

==Certifications==
{{certification Table Top}}
{{certification Table Entry|title=All Things Must Pass|artist=George Harrison|type=album|relyear=2001|certyear=2003|region=Canada|award=Gold}}
{{certification Table Entry|title=All Things Must Pass|artist=George Harrison|type=album|relyear=2001|certyear=2021|region=Denmark|award=Gold|id=10874|access-date=4 January 2022}}
{{certification Table Entry|title=All Things Must Pass|artist=George Harrison|type=album|relyear=2001|certyear=2003|region=United Kingdom|award=Gold|id=11539-3516-2}}
{{certification Table Entry|title=All Things Must Pass|artist=George Harrison|type=album|relyear=1970|certyear=2022|region=United States|award=Platinum|number=7|access-date=26 January 2022}}
{{certification Table Bottom | nosales=true|streaming=true}}

==Notes==
{{Reflist|30em|group=nb}}

==References==
{{Reflist|20em}}

== Sources ==
{{refbegin|30em}}
* Dale C. Allison Jr., ''The Love There That's Sleeping: The Art and Spirituality of George Harrison'', Continuum (New York, NY, 2006; {{ISBN|978-0-8264-1917-0}}).
* Keith Badman, ''The Beatles Diary Volume 2: After the Break-Up 1970–2001'', Omnibus Press (London, 2001; {{ISBN|0-7119-8307-0}}).
* The Beatles, ''The Beatles Anthology'', Chronicle Books (San Francisco, CA, 2000; {{ISBN|0-8118-2684-8}}).
* Nathan Brackett & Christian Hoard (eds), ''The New Rolling Stone Album Guide'' (4th edn), Fireside/Simon & Schuster (New York, NY, 2004; {{ISBN|0-7432-0169-8}}).
* Roy Carr & Tony Tyler, ''The Beatles: An Illustrated Record'', Trewin Copplestone Publishing (London, 1978; {{ISBN|0-450-04170-0}}).
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* Hamish Champ, ''100 Best-Selling Albums of the 70s'', Amber Books (London, 2018; {{ISBN|978-1-78274-620-1}}).
* Robert Christgau, ''Christgau's Record Guide: Rock Albums of the Seventies'', Ticknor & Fields (Boston, MA, 1981; {{ISBN|0-89919-025-1}}).
* Alan Clayson, ''George Harrison'', Sanctuary (London, 2003; {{ISBN|1-86074-489-3}}).
* ''A Conversation with George Harrison, Discussing the 30th Anniversary Reissue of "All Things Must Pass"'' (interview with Chris Carter, recorded Hollywood, CA, 15 February 2001), [[Capitol Records]], DPRO-7087-6-15950-2-4.
* Mark Cunningham, ''Good Vibrations: A History of Record Production'', Sanctuary (London, 1998; {{ISBN|978-1860742422}}).
* Stephen Davis, ''Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones'', Broadway Books (New York, NY, 2001; {{ISBN|0-7679-0312-9}}).
* Peter Doggett, ''You Never Give Me Your Money: The Beatles After the Breakup'', It Books (New York, NY, 2011; {{ISBN|978-0-06-177418-8}}).
* The Editors of ''Rolling Stone'', ''Harrison'', Rolling Stone Press/Simon & Schuster (New York, NY, 2002; {{ISBN|0-7432-3581-9}}).
* Michael Frontani, "The Solo Years", in [[Kenneth Womack]] (ed.), ''[[Cambridge Companions to Music|The Cambridge Companion to the Beatles]]'', Cambridge University Press (Cambridge, UK, 2009; {{ISBN|978-1-139-82806-2}}), pp.&nbsp;153–82.
* Gary Graff & Daniel Durchholz (eds), ''MusicHound Rock: The Essential Album Guide'', Visible Ink Press (Farmington Hills, MI, 1999; {{ISBN|1-57859-061-2}}).
* Joshua M. Greene, ''Here Comes the Sun: The Spiritual and Musical Journey of George Harrison'', John Wiley & Sons (Hoboken, NJ, 2006; {{ISBN|978-0-470-12780-3}}).
* John Harris, "A Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', July 2001, pp.&nbsp;66–74.
* George Harrison, ''I Me Mine'', Chronicle Books (San Francisco, CA, 2002; {{ISBN|0-8118-3793-9}}).
* Olivia Harrison, ''George Harrison: Living in the Material World'', Abrams (New York, NY, 2011; {{ISBN|978-1-4197-0220-4}}).
* Bill Harry, ''The George Harrison Encyclopedia'', Virgin Books (London, 2003; {{ISBN|978-0-7535-0822-0}}).
* Mark Hertsgaard, ''A Day in the Life: The Music and Artistry of the Beatles'', Pan Books (London, 1996; {{ISBN|0-330-33891-9}}).
* David N. Howard, ''Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings'', Hal Leonard (Milwaukee, WI, 2004; {{ISBN|978-0-634-05560-7}}).
* Elliot J. Huntley, ''Mystical One: George Harrison – After the Break-up of the Beatles'', Guernica Editions (Toronto, ON, 2006; {{ISBN|1-55071-197-0}}).
* Chris Ingham, ''The Rough Guide to the Beatles'', Rough Guides/Penguin (London, 2006; 2nd edn; {{ISBN|978-1-84836-525-4}}).
* Ian Inglis, ''The Words and Music of George Harrison'', Praeger (Santa Barbara, CA, 2010; {{ISBN|978-0-313-37532-3}}).
* Jim Irvin (ed.), ''The Mojo Collection: The Greatest Albums of All Time'', Mojo Books (Edinburgh, 2001; {{ISBN|1-84195-067-X}}).
* Andrew Grant Jackson, ''Still the Greatest: The Essential Solo Beatles Songs'', Scarecrow Press (Lanham, MD, 2012; {{ISBN|978-0-8108-8222-5}}).
* Bobby Keys with Bill Ditenhafer, ''Every Night's a Saturday Night: The Rock 'n' Roll Life of Legendary Sax Man Bobby Keys'', Counterpoint (Berkeley, CA, 2012; {{ISBN|978-1-58243-783-5}}).
* Colin Larkin, ''The Encyclopedia of Popular Music'' (5th edn), Omnibus Press (London, 2011; {{ISBN|978-0-85712-595-8}}).
* Peter Lavezzoli, ''The Dawn of Indian Music in the West'', Continuum (New York, NY, 2006; {{ISBN|0-8264-2819-3}}).
* Simon Leng, ''While My Guitar Gently Weeps: The Music of George Harrison'', Hal Leonard (Milwaukee, WI, 2006; {{ISBN|1-4234-0609-5}}).
* Ian MacDonald, ''Revolution in the Head: The Beatles' Records and the Sixties'', Pimlico (London, 1998; {{ISBN|0-7126-6697-4}}).
* Thomas MacFarlane, ''The Music of George Harrison'', Routledge (Abingdon, UK, 2019; {{ISBN|978-1-138-59910-9}}).
* Chip Madinger & Mark Easter, ''Eight Arms to Hold You: The Solo Beatles Compendium'', 44.1 Productions (Chesterfield, MO, 2000; {{ISBN|0-615-11724-4}}).
* Dan Matovina, ''Without You: The Tragic Story of Badfinger'', Frances Glover Books (2000; {{ISBN|0-9657122-2-2}}).
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* Jan Reid, ''Layla and Other Assorted Love Songs by Derek and the Dominos'', Rodale (New York, NY, 2006; {{ISBN|978-1-59486-369-1}}).
* Mark Ribowsky, ''He's a Rebel: Phil Spector – Rock and Roll's Legendary Producer'', Da Capo Press (Cambridge, MA, 2006; {{ISBN|978-0-306-81471-6}}).
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* Bruce Spizer, ''The Beatles Solo on Apple Records'', 498 Productions (New Orleans, LA, 2005; {{ISBN|0-9662649-5-9}}).
* Doug Sulpy & Ray Schweighardt, ''Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster'', St. Martin's Griffin (New York, 1997; {{ISBN|0-312-19981-3}}).
* Gary Tillery, ''Working Class Mystic: A Spiritual Biography of George Harrison'', Quest Books (Wheaton, IL, 2011; {{ISBN|978-0-8356-0900-5}}).
* Richie Unterberger, ''The Unreleased Beatles: Music & Film'', Backbeat Books (San Francisco, CA, 2006; {{ISBN|0-87930-892-3}}).
* Bobby Whitlock with Marc Roberty, ''Bobby Whitlock: A Rock 'n' Roll Autobiography'', McFarland (Jefferson, NC, 2010; {{ISBN|978-0-7864-6190-5}}).
* Richard Williams, ''Phil Spector: Out of His Head'', Omnibus Press (London, 2003; {{ISBN|978-0-7119-9864-3}}).
* Bob Woffinden, ''The Beatles Apart'', Proteus (London, 1981; {{ISBN|0-906071-89-5}}).
* Kenneth Womack, ''The Beatles Encyclopedia: Everything Fab Four'', ABC-CLIO (Santa Barbara, CA, 2014; {{ISBN|978-0-313-39171-2}}).
{{refend}}

==Further reading==
* Sam Buntz, [https://www.popmatters.com/the-cathedral-and-the-shrinks-office-all-things-must-pass-vs-plastic-ono-band-2495547150.html "The Cathedral and the Shrink's Office: 'All Things Must Pass' vs. 'Plastic Ono Band'"], ''[[PopMatters]]'', 13 May 2015.
* John Harris, [https://www.loudersound.com/features/greatest-albums-of-the-70s-31 "How George Harrison Made the Greatest Beatles Solo Album of Them All"], ''[[Classic Rock (magazine)|Classic Rock]]''{{hair space}}/loudersound.com, 27 November 2016.
* Randy Lewis, [https://www.latimes.com/entertainment/music/posts/la-et-ms-george-harrison-all-things-must-pass-anniversary-chris-carter-20151123-story.html "George Harrison's 'All Things Must Pass' Still Inspires 45 Years Later"], ''[[Los Angeles Times]]'', 24 November 2015.
* Jody Rosen, [https://www.nytimes.com/2001/07/29/arts/music-luxuriating-in-the-sprawl-of-that-early-70-s-sound.html?pagewanted=2&src=pm "Luxuriating in the Sprawl of That Early 70's Sound"], ''[[The New York Times]]'', 29 July 2001, S2 p.&nbsp;25.
* Kenneth Womack, [https://www.salon.com/2020/04/18/the-hope-and-wisdom-of-george-harrisons-1970-solo-album-all-things-must-pass/ "The Hope and Wisdom of George Harrison's 1970 Solo Album 'All Things Must Pass'"], ''[[Salon (website)|Salon]]'', 18 April 2020.

==External links==
* {{Official website|http://www.georgeharrison.com/#/music/release/all-things-must-pass}}
* {{Discogs master|56036|name=All Things Must Pass}}
* [http://www.rarebeatles.com/ghpsatmp.htm Portion of Phil Spector's notes on Harrison's early mixes]
* [https://www.youtube.com/watch?v=FOzzdbPQn74 Producer David Hentschel's recollections of working on the album]

{{George Harrison}}
{{All Things Must Pass}}
{{Phil Spector}}

{{Good article}}

{{Authority control}}

[[Category:1970 albums]]
[[Category:George Harrison albums]]
[[Category:Apple Records albums]]
[[Category:Albums produced by George Harrison]]
[[Category:Albums produced by Phil Spector]]
[[Category:Albums recorded at Trident Studios]]
[[Category:Albums recorded at Apple Studios]]
[[Category:Grammy Hall of Fame Award recipients]]