George Harrison — All Things Must Pass
Discovering this album was like finding out there is a secret Beatles album. All Things Must Pass exhibits Harrison’s genius in ways which were hampered with the rest of the fab four.
When you look up the writer credits for most songs by The Beatles you’ll see a familiar “Lennon — McCartney” attribution. It was only on solo songs of his own, which were deemed good enough for inclusion by the aforementioned you’d see a Harrison credit. Following the trials of the Get Back session (including Harrison leaving the band for a stint) George resolved to make his first proper solo album. Using compositions from 1966 to ones he began writing with his new lease on life as The Beatles dissolved, All Things Must Pass took form in early 1970. Backing musicians included Eric Clapton, Ringo Starr and other notable musicians of the period. The album was co-produced by both Harrison and infamous record man Phil Spector. Released in November of the same year the album shot to no. 1 on numerous international charts. The album produced three singles with “My Sweet Lord” being the most successful at no. 1 in the UK and US. The album has gone gold in Harrison’s native UK and 7x platinum in the US.
The album begins on a bit of an inauspicious note. “I’d Have You Anytime” vacillates between sleepy saccharine and more direction based rock instrumentation. In a way, a perfect encapsulation of the album to come. Plenty of loving odes, some slower moments, and some of the tightest Harrison arrangements ever assembled. “My Sweet Lord” dips its toe into Harrison’s Krishna beliefs in what can best be described as a blend of eastern and western gospel. People in the early ’70s must have been desperate for something Beatles related, because while this song is fine, I don’t understand how it stayed on the top 50 of the charts for four consecutive weeks. “Wah-Wah” is the first song which takes aim at his former bandmates. Written during the period of the Get Back sessions where he quit, this funky rock track denotes Harrison’s feelings toward Paul McCartney. “Isn’t It A Pity” closes outside A of this triple LP, and is too meandering for my taste. Side B begins with the third and final single from the album “What Is Life.” This is a simple love song which is elevated by genius production, buzzy guitar, and an impassioned Harrison to sell the whole package. This song was the reason I bought this album and discovered all the rest of the gems, so I’m grateful for this track. “Let It Down” is a full “wall of sound” ’70s rock piece. Every piece of this song builds upon the other before it regresses again and again into unassuming acoustic serenades. The closer of the first disc is “Run of the Mill.” This track is most notable for being a POV reflection inside The Beatles’ dissolution. “Apple Scruffs” on Side C is an ode to The Beatles fans who would wait outside their Soho office to catch a glimpse of the band members. “Ballad of Sir Frankie Crisp (Let It Roll)” is dedicated to the former owner of Harrison’s newly acquired estate: Friar Park. Of most note with this song, is in relation to the album cover. Harrison sits in the gardens of his lavish residence surrounded by bavarian gnomes unearthed from this past owner. Most music historians agree the gnomes flanking George represent The Beatles. This leads into “Awaiting On You All” another spiritual. I must say, if all church music was this catchy, I’d be listening to a lot more gospel. The title track closes out Side C where Harrison explores the finality of The Beatles in relation to his eastern dogma. A beautiful song which is more than worthy of the album title. Side D begins with the bass guitar piano laced “I Dig Love.” This song is most notable for Harrison’s use of the slide guitar, but is otherwise a mere “free love” anthem. From love to death we arrive at “Art of Dying.” With music which could play over a ’70s cop show intro, and transcendental lyricism musing on death, this is a song of the era for certain. Again, expounding on the impermanence of all things, Harrison embraces the beauty and art in a finality. Side D closes with “Hear Me Lord” a bombastic and dramatic plea for acceptance from his savior. Tying the entire album together thematically. Sides E and F are instrumental jams which Harrison included as “bonus tracks.”
Must Listen To: Awaiting on You All
I am in no way religious. But if the love of God can lead to a fully realized composition like this…? Amen.
