George Harrison - All Things Must Pass [BOXED EDITION]
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Free Music Notes for All Things Must Pass [BOXED EDITION]
Free Music Review: splendid remastering job on a classic now getting its due
Hit: 5 Stars
I have had a soft spot for this album from the time I first heard it eight or nine years ago. I have more than once entertained the (admittedly impossible) notion of what might have happened if, in early 1969, rather than persist with the misguided and dismal "Get Back/Let It Be" debacle, the other Beatles had deferred to the quality of George's songs (many of these songs had been written by that point), and recorded this album before Abbey Road, or what if they had made Abbey Road a double, re-recording the best of the Lennon and McCartney "Get Back" tunes under proper conditions, and boosting the collection with some of George's fine songs presented here? But that's all just speculation...Much has been written about the re-mastering and re-packaging of this album. There are a few comments I'd like to add: The reviewer who comments that in the process of removing "hiss," the engineers have destroyed this album is completely out of line. Anyone who has ever heard either the original vinyl or the previous CD version of this album cannot deny that the re-mastering of this album is stellar, rivalling the wonderful job performed by Columbia/Legacy on the entire Byrds catalog. There are instrumental parts on this album that I had never heard before listening to this version, and I for one am delighted with the re-mastering, finding nothing wrong with the balance between the high or low ends. The new ATMP is especially great on headphones.
Some reviewers have made disparaging remarks about Phil Spector's original production of this album, calling it muddy or overblown. It is easy to charcterize everything Spector worked on as "wall of sound," but is not really accurate. "Let It Down" and "Wah-Wah" are certainly intricate productions featuring many instruments, but they can't be considered "wall of sound" proper. By 1970, when ATMP was recorded, Spector had moved beyond any characterizable sound - that year, he also produced John Lennon's "Plastic Ono Band" album, which is in no way a "wall of sound." (for the true "wall of sound," check out Spector's productions ca. 1965, on such cuts as "Just Once in My Life" by the Righteous Brothers, "This Could Be the Night" by the Modern Folk Quartet, "Is This What I Get For Loving You?" by the Ronettes, and, of course, "River Deep, Mountain High" by Ike & Tina Turner - these cuts are the true "wall of sound, in all of its oppressive glory). ATMP is maybe, at it's most orchestral, a "curb of sound. Some of the instrumental passages on this album are tremendously good, and much of that has to do with Spector: the manner in which the horns surge out of the lovely acoustic guitar intro to "Run of the Mill," the interplay between the slide guitar and piano on "Behind That Locked Door," and there are many more. I am delighted that George didn't re-mix the album (especially given the testimony of his judgment afforded by "My Sweet Lord (2000)") - Spector's original mixes provide these songs a scale and splendor that they deserve, and I doubt that any re-mixing could really improve them - although I have always wanted the horns on "Wah-Wah" a bit more prominent. A fantastic production, a fantastic collection of tunes. I'm jealous of those just coming to the album for the first time - they get to hear a much better version than has ever been previously available.
The packaging, however, is a bit dodgy: the cardboard sleeves do not provide great protection for the discs. As far as the booklet goes, George's notes are charming, but it would have been nice to have track-by-track musician credits and recording dates, instead of a more general listing of which musicians played on the album. Anyone giving it a proper listen could tell that it was an embryonic Derek and the Dominoes backing on many tracks - Eric Clapton's presence literally screams at you on tracks like "Art of Dying." I have long harbored a suspicion that George's friend (and co-writer of "I'd Have You Anytime") Bob Dylan is playing harmonica on "Apple Scruffs" - there is no credit for any harmonica player even on this re-issue, and my suspicion remains.
As regards the jam that comprised the third disc of the original LP set, my feelings will never change - it's an indulgent mess that most people will seldom listen to, although it sounds like it was huge fun for the musicians performing it. The jam does nothing to dilute the majesty of the proper songs on the album, and if you don't like it, you can skip it.
As far as the newly released tracks are concerned, "I Live For You" is a lovely country-style outtake, with some beautiful steel guitar work. The backing track for "What is Life" is interesting. The new version of "My Sweet Lord" is pretty much a throwaway. My only real complaint here is what is not included. There are demo recordings, like the two included here, for many of the songs on the original album: they are uniformly excellent, and would have made a great third disc, or they could have rounded out the playing times on the two existing discs. Disc one is 62 minutes, disc two is 66 minutes. Some of the demos could have been used to round out these discs to a full 78 or 80 minutes. Oh well. What is included is excellent.
Two additional tracks recorded during the original sessions for this album can be found on Eric Clapton's "Crossroads" box set: "Roll It Over," and "Tell the Truth." Spector again produces, and Clapton sings on these tracks. George's involvement is strictly as a guitar player - but they are mentioned for those who want to hear more from this remarkable band.
Free Music Review: A Great, Uplifting Album Worth Revisiting
Hit: 5 Stars
One of the most enjoyable things about the re-release of re-mastered editions of albums, such as this, is the opportunity to revisit music you have not heard in years to see if it still holds up-this CD does, remarkably well. The sound on this new, re-mastered edition is clear and fresh.Thirty years after its initial release it may be hard to remember the impact this album had. In the wake of the break-up of the Beatles in 1970, both John Lennon (in his solo LP "Plastic Ono Band") and Paul McCartney (in his album "McCartney") had moved away from the Beatles both musically and philosophically. Lennon had rejected the myth of the Beatles in songs such as "God" ("I don't believe in Beatles") and Paul had made a modest, home made solo album that backed off considerably from the ambitious, musical suites of both "Sgt. Pepper's" and "Abbey Road."
Although George had his biggest Beatle-hit with "Something" in 1969, "All Things Must Pass" came as nothing short of a revelation when it was first released as 3 record set in 1970. Of all the initial solo work of the Beatles, this was the only album that seemed to embrace the sound and musical outlook of the Beatles. At the same time, George, released from the restrictions of the Fab Four, was able to fully express his new found spiritual awakening in songs such as "My Sweet Lord" (a number one hit) and "Awaiting on You All."
George has now supervised (and written annotations for) a digitally re-mastered, re-release of this seminal 1970s album. While this is clearly George on his own, it is apparent that he had listened and learned from Lennon and McCartney.
Every song on this album is confidently performed with memorable, and often subtle, melodies and riffs. The album opens with "I'd Have You Anytime" with its quiet, opening vocals and a beautifully played and tasteful guitar line (by Eric Clapton?). "My Sweet Lord" follows with George's hear-felt and impassioned vocals-this song is irresistibly catchy and moving. The quality of the music and the songs just gets stronger from song to song and CD to CD.
George's spiritual confessions are both personal and heartfelt, rather than preachy. Although George was often labeled the "serious" Beatle, there are touches of humor throughout the album--the sound effects on "Wah-Wah" and his fun and loving tribute to Beatles hanger-ons in "Apple Scruffs." Even the lengthy jams at the end of disc 2 (with members of Cream and Derek and the Dominos) are fun and more interesting musically than I remember them being at the time.
The influence of the Beatles sound is found throughout the album. "Isn't It a Pity" echoes the "White Album" and themes of love often explored by John Lennon. "Behind that Locked Door" (even with its country sound) reminds one of the simple, beautiful melodies of Paul McCartney. "The Ballad of Sir Frankie Crisp (Let It Roll)" contains a subtle organ sound reminiscent of "Being for the Benefit of Mr. Kite" (from "Sgt. Pepper's") and a haunting, melodious piano figure. The title song is uplifting and Beatlesque without being simple-minded. George has skillfully and confidently brought all these influences together to form an original and personal album of music.
A Note on the Additional Tracks: The first of this 2 CD set contains 5 additional, unreleased tracks not on the original album. These tracks appear carefully selected and the listener is (thankfully) not inundated with endless outtakes and unreleased material. "I Live For You" is a country-tinged song with some nice pedal steel guitar by Pete Drake. Next is a demo of "Beware of Darkness" played for producer Phil Spector which George states, in the liner notes, he was unaware was being recorded. In addition to slightly different lyrics, the listener sees what a fully realized song this was even before it was recorded. The demo of "Let It Down" emphasizes its lilting melody while the backing track to "What is Life" is sans vocals and with some added or emphasized horn parts. The fifth track is a re-recording of "My Sweet Lord" ["My Sweet Lord (2000)"]. It seems to have some of the original backing track with new vocals by George and Sam Brown as well as new guitar work by Dhani Harrison.
A Note on the Packaging: There is an 18 page booklet with a 4 page reflection by Harrison (acknowledging the contributions of Eric Clapton and Phil Collins), a roster of musicians who played on the album (but not on a song-by-song basis unfortunately), the original lyrics, commentaries on the five additional tracks, and contemporary and period photographs of Harrison.
Furthermore, the two discs are in their own individual, cardboard slipcases. Each slipcase has a colorized version of the original album cover with added background scenes that are a sly commentary on our modern, urban life. The entire package is in box that replicates the look of the original album. The cover has been colorized under the supervision of Harrison and the original artists. Rather than an attempt to make the cover photo "contemporary," Harrison, as he says in the booklet, is just trying to "have a bit of fun with the package"-it works.
In this era of ugly and often narcissistic music, this is a collection of timeless and uplifting songs worth revisiting again and again.
Free Music Review: With Love, From George
Hit: 5 Stars
This is such a wonderful album. I never got around to buying the previously released CD version of it (and, reading the comments of many other reviewers, it looks like this was a good thing on my part), so what I've had all these many years is the original vinyl, worn away and full of surface noise. (Remember the orange colored Apple labels?) In approaching a review of this new release, one must appreciate what it is, and be mindful of its place in history. This is an explosion of George Harrison's material written while he was Beatle George, squeezed out of the way by the behemoth of Lennon/McCartney and the quantity (and quality) of their songs. And, in a very real way, this feels a lot like a Beatle album, much more than any of the other Beatles early solo work. Ringo is there, and Phil Spector, coming off the Let it Be LP. But now George is the front man, and this was his chance to shine in the spotlight, to prove that his songs were just as good, just as great, if only they were given the chance to be heard. And with the world-wide sensation of "My Sweet Lord", who could argue with that premise? This was a well-received offering, with great stuff still on the way (such as the amazing "Living in the Material World"). The key issue with "All Things Must Pass" is a perception, based on the opinions of so-called music "experts", that time has not treated it very well. The songs are dated, they say; that it feels like a museum piece. It's a human nature thing, I guess; say something enough and people just start believing it. And, based on the liner notes, George himself is no exception. He speaks of production that "seemed appropriate at the time" and how difficult it was to resist re-mixing every track for the CD package. What comes across is how precious this album is to him, and how desperately he wants to preserve it for history - to undo the "crime" of that damn production. He has struggled, it seems, with how much he should tamper with it. For George, these are songs that he thinks of a certain way, and the Spectorized treatment of them does not always match with his own perceptions. He tries to clue us in to this with the bonus tracks included on the first CD. He has rid these tracks of ALL reverb whatsoever - the production is very raw. As if he's saying, "See, this is what it really should sound like". It is interesting to think of how it all could be different - if you listen to "I Live For You", the logical extension is to think of how a song like "Awaiting On You All", a titanic wall of sound if there ever was one, would fare with the alternative treatment.
The fact is, though, that this is all a bunch of nonsense.
The songs sound great - or rather, the great songs sound great. "I'd Have You Anytime", "My Sweet Lord", "Beware of Darkness", "All Things Must Pass", just to name the most obvious, are simply perfect. Any other production would be a detriment, contrary to the prevailing school of thought. And that's one key point: this is not a perfect album. MOST of the songs are good or great, but not all, and no matter what the production the lessor tunes were not headed for immortality. If I had the chance to talk to George myself, I'd tell him to let it go - this is a beautiful record, warts and all (as they say), and there's no need to change a thing. What comes to mind is something Duke Ellington said in a film clip in the last installment of the Ken Burns "Jazz" program. When asked what piece of music of his was his favorite, he instantly replied, "The one I'm writing tomorrow, always!" Go out and make another masterpiece tomorrow, George, and be proud of All Things Must Pass for the great achievement it is. Let it be.
There's also been a little talk about the paucity of liner notes from George. But frankly, I'm a member of the "enough anthologies" crowd. There's no need to put this under the microscope and dissect it. Just listen to the music - that's the message. The minimalism makes the little things, like George poking fun at his Liverpudlian accent, "Let your `hur' hang all around me", stand out a little more. And the cover on the booklet, with the freeway, skyscrapers and nuclear towers? - hysterical! How very, well, Beatle-esque!
One additional note: if you were looking for the lyrics for that one verse in "Awaiting On You All", you won't find it. Radio announcer Richard Neer will still always be able to find work answering that bit of trivia!
All in all, a loving treatment of a great record by George Harrison.
Free Music Review: "Let out your heart, please/From behind that locked door..."
Hit: 5 Stars
At first, it seems peculiar that the Beatle who only contributed one or two songs per LP should start his post-fab four career with a colossal triple-album. Even more remarkable is that he managed to pull off all six sides with barely a dent in creativity, insightfulness and skillfulness. A closer examination, however, explains why The Beatles' lead guitarist, George Harrison, should have a wealth of excellent material for his first solo work. When The Beatles' finale, Abbey Road, was recorded in 1969, Mr. Harrison was still only being allotted a very small amount of space for his compositions, despite the fact that he had been writing avidly and maturing quickly for more than six years. The Beatles still thought it best that mainly Paul McCartney's and John Lennon's more proven songwriting abilities fill their records. So while, Mr. Lennon and Mr. McCartney gorged each album with their material, Mr. Harrison, clearly a gifted songwriter as his Beatles songs, few as they were, demonstrated, was quietly composing a reservoir of material, choosing only a one or two for the group's LPs and shelving away other masterpieces for a later day.So what was Mr. Harrison hoarding? Obviously, further astute spiritual introspection than "Within You Without You" even hinted at. Indeed, the main subject matter on All Things Must Pass is Mr. Harrison's explorations of the metaphysical world. "Hear Me Lord" and "The Ballad of Sir Frankie Crisp (Let It Roll)" are passionate cries for divine understanding. "Art of Dying" speaks of an ambiguous cycle of life and death. "Awaiting On You All" is one of the most scathing affronts to trademarked spirituality ever put into verse ("And while the Pope owns 51% of General Motors/And the stock exchange is the only thing he's qualified to quote us/The Lord is awaiting on you all to awaken and see/By chanting the names of the Lord and you'll be free"). The hit single, "My Sweet Lord," however is the album's definitive anthem, a charmingly simplistic, yet wholly moving, ode to the Above. Obviously Mr. Harrison had been very much transformed by his mystical quests. Even the songs centered around the more usual popsong themes of love and friendship, such as "Isn't It A Pity," "Run of the Mill" and the title track have definitively mystical and philosophical qualities to them. Mr. Harrison never comes across as preachy or contrived; he just sounds like a songwriter very inspired and passionate about his subject matter.
Aside from his lyrical talents, All Things Must Pass, also displays that Mr. Harrison was an instrumentalist far more dynamic and adventurous than The Beatles and their strict perfectionism ever allowed him to demonstrate. Granted, Beatle material such as "Think For Yourself" and "Savory Truffle" displayed Mr. Harrison's ability to construct original, somewhat asymmetrical song structures that always somehow worked to the track's advantage in the end. With the wavering atmospheres and intricate melodies of songs like "The Art of Dying," "Run of the Mill," "What Is Life" and "I'd Have You Anytime," his delightful practice of side-winding musical schemas continues on All Things Must Pass, but the collection includes an even greater display of Mr. Harrison's talents as an instrumentalist, namely the third, "bonus" disc (Tracks five through nine of the second disc on the CD version), entitled "Apple Jam," that features Mr. Harrison leading a phenomenal ensemble, including his protégé, Billy Preston and close friend, Eric Clapton, through a series of striking improvisational sessions. These smoldering blues-jams, with their ray-gun sound effects and psychedelic wah-wah, sound like what might be playing in the extraterrestrial bar in Return of the Jedi, if George Lucas had decided it would be a juke joint. Apple Jam features some of the most fluid, brawny and fantastic pieces of instrumental rock ever recorded.
All Things Must Pass is the sound of George Harrison's immense talent breaking out. Although few would deny The Beatles their greatness, there are certain ways in which their constant precision and bias towards Lennon and McCartney material hindered this exceptional musician. Mr. Harrison's inspiring spiritual musings, distinctive songwriting skills and vibrant guitar-playing are all bloom to their full glory in All Things Must Pass. The results are spectacular.
Free Music Review: ONE OF MY FAVORITE ALBUMS OF ALL TIME
Hit: 5 Stars
In 1970, twenty-seven-year-old singer/songwriter George Harrison had, for a few years, heaped quite an assortment of songs he never got to record or release as a member of The Beatles, which had broken up only a few months prior. George pondered how life was going to be or how it was to continue after having been one of the Fab Four for so long. Upon resolve, he was going to make excellent use of those songs which never made it to vinyl and was thus going to come out in full force as a solo artist.
To carry out his mission, he enlisted the services of producer Phil Spector and hauled in the ranks of several renowned musicians, including Eric Clapton and Ringo Starr. George Harrison was to start a project that was going to show the world that there was more to him than just the Quiet Beatle who was, in a creativity context, subordinated notches below the Lennon/McCartney duo. The fruit of his efforts would be a landmark album by the name of All Things Must Pass. Thanks to the volume of music that would be contained, it would have a unique, marketing distinction of its own: while Dylan's Blonde on Blonde is officially recorded in the annals as the first ever double-LP, Harrison's new work entered the stores as the first triple-disc collection comprised only of previously unreleased material.
Back then, and even in retrospect, one can agree that Harrison's option to issue his first solo material in this fashion was, to say the least, a very bold move. Fortunately, for him and the music world, it was to be a successful decision that would make Mr. Harrison a chart-topper in the singles and album categories.
Among the tunes that would help bring All Things Must Pass to the forefront and generate massive sales are the top 10 hits, the double-A single My Sweet Lord/Isn't It a Pity, which spent 4 weeks at #1 and was the first chart-topping single from a former Beatle, and What Is Life. Included in the set are the Bob Dylan contributions, I'd Have You Anytime and If Not for You.
To music fans, there are so many reasons that point to the success of All Things Must Pass, but there is a tie that binds them all. It is, simply put, a most enjoyable, though sometimes poignant, set of tracks that, altogether, touch the soul to the degree that even Bob Geldof unequivocally calls it the greatest album ever released by a former Beatle. Indeed, it has some very uplifting tunes, which, IMHO, comprise the very best portions, including the electric Wah-Wah, the Wagnerian Let It Down, the wistful Run of the Mill, which is followed by the bluesy and symphonic Beware of Darkness. Apple Scruffs, The Art of Dying, and Awaiting on You All cannot be denied, nor can the title track itself.
Subsequent to the main body of this masterpiece are what might be regarded as the equivalent of B-side recordings that nonetheless serve a purpose. This middle set provides a smooth segue to the final portions, which are instrumental recordings that have been identified and immortalized as The Apple Jam. Beginning with Plug Me In and concluding with Out of the Blue, The Apple Jam was a free-for-all for George Harrison and his band mates to let it rip and ride to the end.
Containing the picture of the distinguished, long-haired George Harrison alongside some garden gnomes on the front cover, All Things Must Pass, visually interesting and sonically appealing, was recorded at number 437 on Rolling Stone magazine's list of 500 greatest albums of all time and is certified as the best selling album by a former Beatle. In fact, it outsold the first solo offerings of John Lennon (Plastic Ono Band) and Paul McCartney (McCartney) combined. No small feat, to say the very least!
Thanks for the great memories, George.