Guardians "Alternative Top 100 Albums" list, where the editor described it as the "best, mellowest and most sophisticated" of all the Beatles' solo efforts. In 2006, Pitchfork placed it at number 82 on the site's "Top 100 Albums of the 1970s". It was ranked 433rd on Rolling Stones list of the "500 Greatest Albums of All Time" in 2012 and 368th on the 2020 updated list. 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), The Times "100 Best Albums of All Time" (1993; number 79), Allan Kozinn's The 100 Greatest Pop Albums of the Century (published in 2000), Qs "The 50 (+50) Best British Albums Ever" (2004), Mojos "70 of the Greatest Albums of the 70s" (2006), the NMEs "100 Greatest British Albums Ever" (2006; number 86), Paste magazine's "The 70 Best Albums of the 1970s" (2012; number 27), and Craig Mathieson and Toby Creswell's The 100 Best Albums of All Time (2013). In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame, an award bestowed by the Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old". 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. Subsequent releases 2001 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. Ken Scott engineered the reissue, which was remastered by Jon Astley. Harrison and Scott were shocked at the amount of reverb they had used in 1970 and were keen to remix the album, but EMI vetoed the idea. The reissue appeared on Gnome Records, a label set up by Harrison for the project. Harrison also oversaw revisions to Wilkes and Feinstein's album artwork, which included a colourised "George & the Gnomes" front cover 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. The latter series served to illustrate Harrison's dismay