After Boyd rejected him in November 1970, Clapton descended into full-blown heroin addiction, [206] which led to the break-up of the band in early 1971 and the sidelining of his career until 1974. O bom dessa mixagem é poder ouvir detalhes que antes estavam sumidos no wall of sound do spector, principalmente back vocals e vocais principais mais limpos. The Super Deluxe Edition CD collects 70 tracks across 5 CDs including 47 (42 previously unreleased) demo recordings, session outtakes and studio jams all housed in a beautiful slipcase. Is it just me, though, or does George Harrison's nose sound stuffed up throughout compared to the original mix?

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".

Music journalist Jim Irvin says that Harrison sings of "deep love – for his faith, for life and the people around him". 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. All Things Must Pass was George Harrison's first release following the acrimonious falling apart of the Beatles.

Voormann has said that Harrison "cluttered" the album's sound in this way, and "admitted later that he put too much stuff on top". Voormann immediately "loved" the sound, [165] as did Clapton; Harrison later said: "I grew to like it. The extent of Harrison's success surprised the music industry and largely overshadowed Lennon's concurrently released Plastic Ono Band album, which Spector also co-produced. In addition, Harrison resequenced the content of Apple Jam so that the album closed with "Out of the Blue", as he had originally intended. This association led to Spector being given the task of salvaging the Beatles' Get Back rehearsal tapes, released officially as the Let It Be album (1970), [26] [27] and later co-producing All Things Must Pass.nb 17] He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles, [129] and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing. 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. Also available as a separate, double-CD release, the reissue reproduces Harrison's 2001 liner notes [352] and includes the same five bonus tracks that appeared on the 30th anniversary edition.

Recently picked myself up a clean UK -1U copy with the USA printed box and original inners (no poster), after owning the 50th Anniversary edition for a few months.The collection contains a beautiful 56-page scrapbook curated by Olivia Harrison, with unseen imagery and memorabilia from the era, handwritten lyrics, diary entries, studio notes, tape box images, a comprehensive track-by-track and more. 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". If you love the work of George or want to learn more about him then this album should be in your collection, in fact this album should be in every record collection, a definite 500 out of 5.

Harrison had accumulated songs from as far back as 1966; both " Isn't It a Pity" and " Art of Dying" date from that year.Spector recorded most of the backing tracks live, [164] in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists. Production began at London's EMI Studios in May 1970, with extensive overdubbing and mixing continuing through October. 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. The recurrent lyrical themes are Harrison's spiritual quest, as it would be throughout his solo career, [85] and friendship, particularly the failure of relationships among the Beatles.