text:
All Things Must Pass
|All Things Must Pass
|Studio album by George Harrison
|27 November 1970
|26 May–late October 1970
Abbey Road Studios, London; Trident Studios, London; Apple Studio, London
|Folk rock, gospel, hard rock, country and western, Motown
|George Harrison, Phil Spector
|George Harrison chronology
|Singles from All Things Must Pass
All Things Must Pass is a triple album by English musician George Harrison, released in November 1970. His third studio album, it includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that were turned down by Harrison's former band, the Beatles. The album reflects the influence of his musical activities outside the Beatles during 1968–70, with Bob Dylan, the Band, Delaney & Bonnie, Billy Preston and others, and Harrison's growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature sound, the slide guitar, and the spiritual themes that would be present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams, titled Apple Jam. 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 in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and 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, Preston, 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 acclaimed on release and, with long stays at number 1 on charts around the world, commercially successful. The album was co-produced by Phil Spector and employs his Wall of Sound production technique to notable effect; Ben Gerson of Rolling Stone described the sound as "Wagnerian, Brucknerian, the music of mountain tops and vast horizons".[1] Reflecting the general surprise at the assuredness of Harrison's post-Beatles debut, Melody Maker's Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!"[2] Several critics consider All Things Must Pass to be the best of all the Beatles' solo albums.
In March 2001, following a successful reissue campaign coinciding with its 30th anniversary, the album was certified six-times platinum by the Recording Industry Association of America. In 2012, Rolling Stone placed All Things Must Pass 433rd on its list of the "500 Greatest Albums of All Time".
- 1 Background
- 2 Album content
- 3 Contributing musicians
- 4 Production
- 5 Album artwork
- 6 Release
- 7 Reception
- 8 Subsequent releases
- 9 Track listing
- 10 Personnel
- 11 Accolades
- 12 Charts
- 13 Certifications
- 14 Notes
- 15 Citations
- 16 Sources
- 17 External links
The British music journalist John Harris has identified the start of George Harrison's "journey" to making All Things Must Pass as his visit to America in late 1968, following the acrimonious sessions for the Beatles' White Album.[3] While in Woodstock in November,[4] Harrison established a long-lasting friendship with Bob Dylan[3] and experienced a creative equality among the Band that contrasted sharply with John Lennon and Paul McCartney's domination in the Beatles.[5][6] Coinciding with this visit was a surge in Harrison's songwriting output,[7] following his renewed interest in the guitar, after three years spent studying the Indian sitar.[8][9] As well as being one of the few musicians to co-write songs with Dylan,[3] Harrison had recently collaborated with Eric Clapton on "Badge",[10] which became a hit single for Cream in the spring of 1969.[11]
Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles,[12][13] 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.[14] His activities during 1969 included producing Apple signings Billy Preston and Doris Troy, two American singer-songwriters whose soul and gospel roots proved as influential on All Things Must Pass as the music of the Band.[15] He also recorded with artists such as Leon Russell[16] and Jack Bruce,[17] and accompanied Clapton on a short tour with Delaney Bramlett's soul revue, Delaney & Bonnie and Friends.[18] In addition, Harrison identified his involvement with the Hare Krishna movement as providing "another piece of a jigsaw puzzle" that represented the spiritual journey he had begun in 1966.[19] As well as embracing the Vaishnavist branch of Hinduism, Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as Radha Krishna Temple (London).[20] In January 1970,[21] Harrison invited American producer Phil Spector to participate in the recording of Lennon's Plastic Ono Band single "Instant Karma!"[22][23] 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),[24][25] and later co-producing All Things Must Pass.[26]
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.[27][28][nb 1] At Abbey Road Studios on 25 February, his 26th birthday,[31] Harrison recorded demos of "All Things Must Pass" and two other compositions that had received little interest from Lennon and McCartney at Twickenham.[32][33] With the inclusion of one of these songs – "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.[34][35] Although he began talking publicly about recording his own album from the autumn of 1969,[30][36] it was only after McCartney announced that he was leaving the Beatles, in April 1970, signalling the band's break-up,[37] that Harrison committed to the idea.[38] Despite having already made Wonderwall Music (1968), a mostly instrumental soundtrack album, and the experimental Electronic Sound (1969),[39] Harrison considered All Things Must Pass to be his first solo album.[40] This is a view held by biographers Leng[41] and Joshua Greene[42] also, as well as by music writers and critics such as John Harris,[3] David Fricke,[40] Richie Unterberger[43] and Harry Shapiro.[44]
Album content[edit]
Main body[edit]
I went to George's Friar Park ... 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.[45]
Spector first heard Harrison's stockpile of unreleased compositions early in 1970, when visiting his recently purchased home, Friar Park.[45] "It was endless!" Spector later recalled of the recital, noting the quantity and quality of Harrison's material.[45] Harrison had accumulated songs from as far back as 1966; both "Isn't It a Pity" and "Art of Dying" date from that year.[46] He co-wrote at least two songs with Dylan while in Woodstock,[47] only one of which, "I'd Have You Anytime", appeared on All Things Must Pass.[48] Harrison wrote "Let It Down" in late 1968 also.[49]
He introduced the Band-inspired[50] "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.[51][52][nb 2] The tense atmosphere at Twickenham fuelled another All Things Must Pass song, "Wah-Wah",[56] which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969.[57] "Run of the Mill" followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles[58] amid the business problems surrounding their Apple organisation.[59] Harrison's musical activities outside the band during 1969 inspired other compositions 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;[60] "Behind That Locked Door" was Harrison's message of encouragement to Dylan,[61] written the night before the latter's comeback performance at the Isle of Wight Festival;[62] and Harrison began "My Sweet Lord" as an exercise in writing a gospel song[63] during Delaney & Bonnie's stopover in Copenhagen in December 1969.[64][nb 3]
"I Dig Love" resulted from Harrison's early experiments with slide guitar, a technique that Bramlett had introduced him to,[63] in order to cover for guitarist Dave Mason's departure from the Friends line-up.[67] 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;[68][69] "Ballad of Sir Frankie Crisp (Let It Roll)", a tribute to the original owner of Friar Park;[70] and "Beware of Darkness".[71] Shortly before beginning work on All Things Must Pass, Harrison attended a Dylan session in New York on 1 May 1970,[72] during which he acquired a new song of Dylan's, "If Not for You".[56] Harrison wrote "Apple Scruffs", which was one of a number of Dylan-influenced compositions on the album,[73] towards the end of production on All Things Must Pass, as a tribute to the diehard fans who had kept a vigil outside the studios where he was working.[69][74]
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.[75] The album also incorporates hard rock, country and western, and Motown.[76] 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.[77] The recurrent lyrical themes on the album are Harrison's spiritual quest, as it would be throughout his solo career,[78] and friendship, particularly the failure of relationships among the Beatles.[79][80] Jody Rosen, writing in The New York Times, said that the album develops its large sound around humble, confessional folk rock songs by Harrison, who "specializes in sad songs that step darkly through minor chord changes, delivered with a doleful catch in the voice".[81]
Apple Jam[edit]
On the original LP's third disc, entitled Apple Jam, four of the five tracks – "Out of the Blue", "Plug Me In", "I Remember Jeep" and "Thanks for the Pepperoni" – are improvised instrumentals built around minimal chord changes,[82] or in the case of "Out of the Blue", a single-chord riff.[83] The title for "I Remember Jeep" originated from the name of Clapton's dog, Jeep,[84] and "Thanks for the Pepperoni" came from a line on a Lenny Bruce comedy album.[85] In a December 2000 interview with 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."[86][nb 4]
The only vocal selection on Apple Jam is "It's Johnny's Birthday", sung to the tune of Cliff Richard's 1968 hit "Congratulations", and recorded as a gift from Harrison to Lennon to mark the latter's 30th birthday.[88] Like all the "free" tracks on the bonus disc,[89] "It's Johnny's Birthday" carried a Harrison songwriting credit on the original UK release of All Things Must Pass,[90] 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, BMI.[91] In December 1970, "Congratulations" songwriters Bill Martin and Phil Coulter claimed for royalties,[88] with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.[84]
Demo tracks and outtakes[edit]
Aside from the seventeen compositions issued on discs one and two of the original album,[92] 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.[93][94] 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."[95][nb 5] As well as "Wah-Wah", "Art of Dying" and others that would soon be developed in a band setting, Harrison's solo performance for Spector included the following songs,[96] all of which remain unreleased:[28][nb 6]
- "Window, Window" – another composition turned down by the Beatles in January 1969[98]
- "Everybody, Nobody" – the melody of which Harrison adapted for "Ballad of Sir Frankie Crisp"[96]
- "Nowhere to Go" – a second Harrison–Dylan collaboration from November 1968, originally known as "When Everybody Comes to Town"[99]
- "Cosmic Empire", "Mother Divine" and "Tell Me What Has Happened to You".[28][100]
Also from this performance were two tracks that Harrison returned to in later years.[93] "Beautiful Girl" appeared on his 1976 album Thirty Three & 1/3,[28] and the Dylan-written "I Don't Want to Do It" was Harrison's contribution to the soundtrack for Porky's Revenge! (1985).[56]
During the main sessions for All Things Must Pass, Harrison taped or routined early versions of "You", "Try Some, Buy Some" and "When Every Song Is Sung".[101][102] Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed (and soon abandoned) solo album on Apple Records.[103] After releasing his own versions of "Try Some, Buy Some" and "You" between 1973 and 1975,[104] 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.[105] "Woman Don't You Cry for Me", written in December 1969 as his first slide-guitar composition,[106] was another song that Harrison revisited on Thirty Three & 1/3.[67] Harrison included "I Live for You" as the only all-new bonus track on the 2001 reissue of All Things Must Pass.[107] "Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii"[108] for his final studio album, the posthumously released Brainwashed (2002).[109]
Harrison recorded the following compositions during the All Things Must Pass sessions but they have never received an official release:[102]
- "Dehradun" – written during the Beatles' stay in Rishikesh in early 1968, and unveiled by Harrison in a brief performance on ukelele for the 1995 TV broadcast of The Beatles Anthology[93]
- "Gopala Krishna" – also known as "Om Hare Om",[102] with all-Sanskrit lyrics,[110] and described by Simon Leng as a "rocking companion" to "Awaiting on You All"[111]
- "Going Down to Golders Green" – a Sun Records-era Presley parody based on the melody of "Baby Let's Play House".[102]
Contributing musicians[edit]
That was the great thing about [the Beatles] splitting up: to be able to go off and make my own record ... And also to be able to record with all these new people, which was like a breath of fresh air.[28]
The precise line-up of contributing musicians is open to conjecture.[112][113] Due to the album's big sound and the many participants on the sessions, music writers have traditionally referred to the grand, orchestral nature of this line-up.[114][115][116] In 2002, Rolling Stone contributor Greg Kot described it as "a who's who of the decade's rock royalty",[51] while Harris writes of the cast taking on "a Cecil B. De Mille aspect".[56]
The musicians included Bobby Whitlock, Jim Gordon, Carl Radle, Bobby Keys, Jim Price and Dave Mason,[117] all of whom had recently toured with Delaney & Bonnie.[118] Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr and Billy Preston, and German bassist Klaus Voormann,[119] formerly of Manfred Mann and a friend since the Beatles' years in Hamburg.[120] Handling much of the keyboard work with Whitlock was Gary Wright,[112] who went on to collaborate regularly with Harrison throughout the 1970s.[121]
From within Apple's stable of musicians, Harrison recruited the band Badfinger, future Yes drummer Alan White, and Beatles assistant Mal Evans on percussion.[122][123] Badfinger drummer Mike Gibbins' powerful tambourine work led to Spector giving him the nickname "Mr Tambourine Man", after the Dylan song,[56] while bandmates Pete Ham, 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".[69] Orchestral arranger John Barham also sat in on the sessions, occasionally contributing on harmonium and vibraphone.[124] Other guests included Nashville pedal steel player Pete Drake, Procol Harum's Gary Brooker and a pre-Genesis Phil Collins.[125]
For contractual reasons, on UK pressings of All Things Must Pass, Clapton's participation on the first two discs of the album remained unacknowledged for many years,[115][126] although he was listed among the musicians appearing on the Apple Jam disc in Britain.[127][128][nb 7] Harrison was unaware of Collins's contribution until putting together the 30th anniversary reissue of the album in 2000,[134] at which point he offered Collins his belated thanks.[135] Clapton's former bandmate in Cream and Blind Faith, Ginger Baker, participated in the session for "I Remember Jeep" only, according to the album's sleeve notes.[102]
Simon Leng consulted Voormann, Barham, Molland and Delaney Bramlett 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".[136][nb 8] Some sources suggest that Peter Frampton may have been among the rhythm guitarists on some songs,[139] while similarly unsubstantiated claims exist regarding possible guest appearances from John Lennon,[140] Maurice Gibb[141] and Pink Floyd's Richard Wright.[142][143] 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".[144]
Initial recording[edit]
You could feel after the first few sessions that it was going to be a great album.[145]
The date for Harrison's run-through of songs for Spector, at Abbey Road Studios, is generally thought to have been 20 May 1970, the same day as the Let It Be film's world premiere,[146] with recording sessions beginning on 26 May.[28][94][147][nb 9] With assistance from former Beatles engineers Ken Scott and Phil McDonald,[122] Spector recorded most of the album's backing tracks live,[149] in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.[56][134]
According to authors Chip Madinger and Mark Easter, the majority of these backing tracks were taped on 8-track at Abbey Road, with the first batch of sessions taking place from late May through to the second week of June.[150] The first song recorded was "Wah-Wah";[151] "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.[152][nb 10] The Apple Jam instrumentals "Thanks for the Pepperoni" and "Plug Me In", featuring Harrison, Clapton and Mason each taking extended guitar solos,[156] were recorded later in June, at the Beatles' Apple Studio, and marked the formation of Clapton, Whitlock, Radle and Gordon's short-lived band Derek and the Dominos.[139] Harrison also contributed on guitar to both sides of the band's debut single, "Tell the Truth"[157] and "Roll It Over",[158] which were produced by Spector and recorded at Apple on 18 June.[139][159] The eleven-minute "Out of the Blue" featured contributions from Keys and Price,[160] both of whom began working with the Rolling Stones around this time.[161]
Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,[162][163] recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October.[139][164] 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.[165][166] Participants at the recording sessions identify Spector's erratic behaviour as another factor affecting progress on the album.[56][139][167] Harrison later referred to Spector needing "eighteen cherry brandies" before he could start work, a situation that forced much of the production duties onto Harrison alone.[56][166] In July 1970, by which time sessions had resumed at Trident Studios,[93] Spector fell over in the studio and broke his arm.[145] Early that month, 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.[168][nb 11] EMI's growing concerns regarding studio costs added to the pressure on Harrison,[145] and a further complication, John Harris notes, 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.[56][nb 12]
In Spector's absence, Harrison had completed the album's backing tracks and preliminary overdubs by 12 August.[139] He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles,[122] and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing.[139] Among Spector's comments were detailed suggestions regarding "Let It Down",[58] 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 the superior, 16-track Trident Studios facility.[173] Spector then returned to oversee conversion of the 8-track recordings to 16-track masters,[166] a process that allowed for more freedom when overdubbing new instruments.[122]
John Barham's orchestrations were recorded during the next phase of the album's production,[151] 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").[174] Leng recognises Barham's 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,[111] while 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 ..."[45] Harrison's style of slide guitar playing incorporated aspects of both Indian music and the blues tradition;[50] 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".[76]
Mixing and mastering[edit]
If I were doing [All Things Must Pass] now, it would not be so produced. But it was the first record ... And anybody who's familiar with Phil [Spector]'s work – it was like Cinemascope sound.[40]
On 9 October, while carrying out final mixing at Abbey Road, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday".[175][nb 13] The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.[88] 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.[177] 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.[178][nb 14]
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.[122] 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.[28] Spector's signature production style gave All Things Must Pass a heavy, reverb-oriented sound, which Harrison came to regret with the passage of time.[180][181] Outtakes from the recording sessions became available on bootlegs in the 1990s.[182] One such unofficial release, the three-disc The Making of All Things Must Pass,[183] 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.[151]
Album artwork[edit]
Harrison commissioned Tom Wilkes to design an "elaborate hinged cardboard box" in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover.[84] Apple insider Tony Bramwell later recalled: "It was a bloody big thing ... You needed arms like an orang-utan to carry half a dozen."[129] The packaging caused some confusion among retailers, who associated boxed albums with opera or classical works.[129]
The stark black-and-white cover photo was taken on the main lawn at Friar Park[69] by Wilkes' Camouflage Productions partner, Barry Feinstein.[84] Commentators interpret the photograph – showing Harrison seated in the centre of, and towering over, four comical-looking garden gnomes – as representing his removal from the Beatles' collective identity.[184][185] The gnomes had recently been delivered to Friar Park and placed on the lawn; seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.[129] Rolling Stone critic Mikal Gilmore has written that Lennon's initial negativity regarding All Things Must Pass was possibly because he was "irritated" by this cover photo;[165] Harrison biographer Elliot Huntley attributes this negativity to Lennon's "jealousy" during a time when "everything [Harrison] touched turned to gold".[186][nb 15]
Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window.[189] Wilkes had designed a more adventurous poster, but according to Beatles author Bruce Spizer, Harrison was uncomfortable with the imagery.[190][nb 16] 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".[84]
Music should be used for the perception of God, not jitterbugging.[165]
EMI and its US counterpart, Capitol Records, had originally scheduled the album for release in October 1970, and advance promotion began in September.[139] 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".[191] Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road,[192] as well as the speculation caused by his and Dylan's joint recording session in New York.[193] 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: "All in all, Harrison's credibility was building to a peak."[192]
All Things Must Pass was released on 27 November 1970 in the United States, and on 30 November in Britain,[188] with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries.[89] Often credited as rock's first triple album,[165][194] it was the first by a single act, the multi-artist Woodstock live set having preceded it by six months.[166] Adding to the commercial appeal of Harrison's songs, Clayson writes, All Things Must Pass appeared at a time when religion and spirituality had become "a turn-of-the-decade craze" among Western youth, just as the Twist had been in 1960.[195] Another factor behind the album's first weeks of release was Harrison's meeting with Lennon and McCartney in New York, the failure of which led to McCartney filing suit in London's High Court to dissolve the Beatles' legal partnership.[196]
Apple issued "My Sweet Lord" as the album's first single, as a double A-side with "Isn't It a Pity" in the majority of countries.[197] It was highly successful, topping singles charts around the world during the first few months of 1971,[69] on its way to becoming the most performed song of that year.[198][nb 17] 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".[165]
The album was number 1 in the UK for eight weeks, although until 2006, chart records incorrectly stated that it peaked at number 4.[200][nb 18] In America, All Things Must Pass spent seven weeks at number 1 on the Billboard 200, from 2 January 1971 until 20 February, part of which coincided with "My Sweet Lord" holding the top spot on the singles chart.[201] 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.[202][nb 19]
All Things Must Pass was awarded a gold disc by the Recording Industry Association of America on 17 December 1970[204] and it has since been certified six times platinum.[205][206] According to John Bergstrom of PopMatters, as of January 2011, All Things Must Pass had sold more than Lennon's Imagine album (1971) and McCartney and Wings' Band on the Run (1973) combined.[207] In his 2011 book Working Class Mystic, author Gary Tillery described it as "the most successful album ever released by an ex-Beatle".[208]
Contemporary reviews[edit]
|Professional ratings
|Review scores
|Robert Christgau
|Encyclopedia of Popular Music
|Entertainment Weekly
|Rolling Stone
|Zagat Survey
All Things Must Pass received almost universal critical acclaim on release – 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.[2][181][217] Beatles author Robert Rodriguez has written of critics' attention being centred on "a major talent unleashed, one who'd been hidden in plain sight all those years" behind Lennon and McCartney.[218] "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."[218] 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,[82][127] although Anthony DeCurtis recognises Apple Jam as further evidence of the album's "bracing air of creative liberation".[215]
Ben Gerson of Rolling Stone deemed All Things Must Pass "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty" 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 and roll".[1] Gerson also lauded the album's production as being "of classic Spectorian proportions, Wagnerian, Brucknerian, the music of mountain tops and vast horizons".[1] 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."[90] Billboard magazine 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".[219]
Melody Maker's 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 Garbo first opened her mouth in a talkie: Garbo talks! – Harrison is free!"[2] 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".[217][nb 20]
That the album sounded so contemporary in 1970 contributed to All Things Must Pass seeming dated and faddish later in the decade.[126] Village Voice critic Robert Christgau, having bemoaned in 1971 that the album was characterised by "overblown fatuity" and uninteresting music,[222] wrote in a 1981 review of its "featurelessness", "right down to the anonymity of the multitracked vocals".[210] 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".[127] Writing in The Beatles Forever in 1977, however, Nicholas Schaffner praised the album as the "crowning glory" of Harrison and Spector's careers, and highlighted "All Things Must Pass" and "Beware of Darkness" as the "two most eloquent songs ... musically as well as lyrically".[223]
More recently, AllMusic views All Things Must Pass as "[Harrison's] best ... a very moving work",[43] while MusicHound describes the set as "epic and audacious".[213] Q magazine considers it to be an exemplary fusion of "rock and religion", as well as "the single most satisfying collection of any solo Beatle".[214] Film-maker 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 Buddhist ceremonies."[224] Rolling Stone's Greg Kot describes this grandeur as an "echo-laden cathedral of rock in excelsis" where the "real stars" are Harrison's songs;[51] in the same publication, Mikal Gilmore labels the album "the finest solo work any ex-Beatle ever produced".[225] Writing for Mojo in July 2001, John Harris called it "the inaugural solo album that still stands as the best Beatles solo record",[3] while earlier that year the magazine's album review read in part: "This remains the best Beatles solo album ... oozing both the goggle-eyed joy of creative emancipation and the sense of someone pushing himself to the limit …"[226]
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.[227]
In his PopMatters review, John Bergstrom likens All Things Must Pass to "the sound of Harrison exhaling", noting: "He was quite possibly the only Beatle who was completely satisfied with the Beatles being gone."[207] Bergstrom credits the album with heavily influencing bands such as ELO, My Morning Jacket, Fleet Foxes and Grizzly Bear, as well as helping bring about the dream pop phenomenon.[207] 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 ... foretold the sprawl and sleepy ambition of the Seventies."[228] 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".[229] In his review for AllMusic, Richie 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.[43]
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 "Kafkaesque chain of events" of life within the band and so added to the "mythologized history" he was looking to escape.[230] 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, but that none of these "possessed the startling impact" of All Things Must Pass.[231] 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".[231]
All Things Must Pass features in music reference books such as Robert Dimery's 1001 Albums You Must Hear Before You Die,[232] Tom Moon's 1,000 Recordings to Hear Before You Die[233] and Chris Smith's 101 Albums That Changed Popular Music.[234] 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.[235] In 2012, it was voted 433rd on Rolling Stone magazine's list of the "500 Greatest Albums of All Time".[236]
Subsequent releases[edit]
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.[237][nb 21] The reissue appeared on Gnome Records, a label specifically set up by him for the project.[239] Harrison oversaw revisions to Wilkes and Feinstein's album artwork,[135] which included a colorised "George & the Gnomes" front cover[135] 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.[87][nb 22] 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".[240][nb 23]
The new version of the album contained five bonus tracks, including "I Live For You", two of the songs performed for Spector at Abbey Road in May 1970 ("Beware of Darkness" and "Let It Down") and "My Sweet Lord (2000)", a partial re-recording of Harrison's biggest solo hit.[242] In addition, Harrison resequenced the content of Apple Jam so that the album closed with "Out of the Blue", as he had originally intended.[86][135] Assisting Harrison with overdubs on the bonus tracks were his son, Dhani Harrison, singer Sam Brown and percussionist Ray Cooper,[86] all of whom contributed to the recording of Brainwashed around this time.[243]
With Harrison "[throwing] himself wholeheartedly" into promotional work, the 2001 reissue was a critical and commercial success.[244] In America, the reissue debuted at number 4 on Billboard's Top Pop Catalog Albums chart[245] and topped the magazine's Internet Album Sales listings;[246] in the UK, it climbed to number 68 on the national albums chart.[247] 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.[248] In October 2007, it re-entered the US Top Pop Catalog chart once more and peaked at number 3.[249]
For the 40th anniversary of All Things Must Pass, in November 2010, EMI reissued the album in its original configuration, in a box set of three vinyl LPs, via participating Record Store Day retailers.[250] In what Bergstrom notes as a contrast to the more aggressive marketing campaign run simultaneously by John Lennon's estate, to commemorate Lennon's 70th birthday,[207] a digitally remastered 24-bit version of the album was made available for download from Harrison's official website.[251]
Track listing[edit]
All tracks written by George Harrison, except where noted.
Original release[edit]
Side one
- "I'd Have You Anytime" (Harrison, Bob Dylan) – 2:56
- "My Sweet Lord" – 4:38
- "Wah-Wah" – 5:35
- "Isn't It a Pity (Version One)" – 7:10
Side two
- "What Is Life" – 4:22
- "If Not for You" (Dylan) – 3:29
- "Behind That Locked Door" – 3:05
- "Let It Down" – 4:57
- "Run of the Mill" – 2:49
Side three
- "Beware of Darkness" – 3:48
- "Apple Scruffs" – 3:04
- "Ballad of Sir Frankie Crisp (Let It Roll)" – 3:48
- "Awaiting on You All" – 2:45
- "All Things Must Pass" – 3:44
Side four
- "I Dig Love" – 4:55
- "Art of Dying" – 3:37
- "Isn't It a Pity (Version Two)" – 4:45
- "Hear Me Lord" – 5:46
Side five (Apple Jam)
- "Out of the Blue" – 11:14
- "It's Johnny's Birthday" (Bill Martin, Phil Coulter, Harrison) – 0:49
- "Plug Me In" – 3:18
Side six (Apple Jam)
- "I Remember Jeep" – 8:07
- "Thanks for the Pepperoni" – 5:31
2001 remaster[edit]
Disc one
Tracks 1–9 as per sides one and two of original issue, with the following additional tracks:
- "I Live for You" – 3:35
- "Beware of Darkness" (acoustic demo) – 3:19
- "Let It Down" (alternate version) – 3:54
- "What Is Life" (backing track/alternate mix) – 4:27
- "My Sweet Lord (2000)" – 4:57
Disc two
Tracks 1–9 as per sides three and four of original issue, followed by the reordered Apple Jam tracks, for which all participants are believed to now be credited as composers also.[nb 24]
- "It's Johnny's Birthday" (Martin, Coulter; new lyrics by Mal Evans, Harrison, Eddie Klein) – 0:49
- "Plug Me In" (Eric Clapton, Jim Gordon, Harrison, Dave Mason, Carl Radle, Bobby Whitlock) – 3:18
- "I Remember Jeep" (Ginger Baker, Clapton, Harrison, Billy Preston, Klaus Voormann) – 8:07
- "Thanks for the Pepperoni" (Clapton, Gordon, Harrison, Mason, Radle, Whitlock) – 5:31
- "Out of the Blue" (Al Aronowitz, Clapton, Gordon, Harrison, Bobby Keys, Jim Price, Radle, Whitlock, Gary Wright) – 11:16
The following musicians are either credited on the 2001 reissue of All Things Must Pass[252] or are acknowledged as having contributed after subsequent research:[255]
Grammy Awards[edit]
|All Things Must Pass
|Album of the Year[258]
Weekly charts[edit]
Year-end charts[edit]
|Chart (1971)
|Australian Albums Chart[259]
|Dutch Albums Chart[269]
|Italian Albums Chart[262]
|US Billboard Year-End[270]
|Canada (Music Canada)[271]
|United Kingdom (BPI)[272]
|United States (RIAA)[273]
|6× Platinum
- ^ In conversation with Lennon, Harrison remarked that he already had enough compositions for the next ten years of Beatle releases,[28] given his usual quota of two tracks per album[29][30] and the occasional B-side.[27]
- ^ "Isn't It a Pity" was another song passed over during these sessions,[53] having similarly been turned down, by Lennon,[54] for inclusion on the Beatles' Revolver album (1966).[55]
- ^ Soon after the tour, Harrison gave "My Sweet Lord" and "All Things Must Pass" to Preston,[65] who released the songs on his Encouraging Words album in September 1970, two months before Harrison's versions appeared.[66]
- ^ The "separate label" was a face label that appeared on each side of disc three, containing a jam jar painted by designer Tom Wilkes to show a piece of fruit inside the jar and two apple leaves on the outside.[87] To complete the literal pun on the words "apple jam", Wilkes painted the title of the bonus disc on the jar's lid.[87]
- ^ In other interviews, Harrison similarly likened his situation to being "constipated for years" artistically while in the Beatles.[92]
- ^ Fifteen of the these tracks are available unofficially on the Beware of ABKCO! bootleg.[96][97]
- ^ For similar reasons regarding record companies being "possessive"[129] of their artists,[130] the musician credits on Cream's Goodbye album (1969),[131] Jack Bruce's Songs for a Tailor (1969) and Delaney & Bonnie's On Tour (1970)[132] could only list Harrison under a pseudonym, "L'Angelo Misterioso".[133]
- ^ Like Barham, Tony Ashton had been a significant contributor to Harrison's Wonderwall Music album.[137] 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.[138]
- ^ 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.[134][148]
- ^ Drake also played on the bootlegged instrumental "Pete Drake and His Amazing Talking Guitar",[153] before returning to Nashville to gather material for Starr's country album, Beaucoups of Blues (1970),[154] sessions for which began in the last week of June.[155]
- ^ This personal tragedy was the inspiration for a new Harrison composition, the 1971 B-side "Deep Blue".[169][170]
- ^ 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).[130] After Boyd rejected him in November 1970, Clapton descended into full-blown heroin addiction,[171] which led to the break-up of the band in early 1971 and the sidelining of his career until 1974.[172]
- ^ Session tapes reveal that Lennon was recording his song "Remember" in one of the other studios there when Harrison arrived.[176]
- ^ The albums were released, respectively, as Bobby Whitlock (1972), Footprint (1971), Straight Up (1971) and Bobby Keys (1972).[179]
- ^ According to Harrison's recollection in a 1977 interview for Crawdaddy magazine,[165] Lennon first saw the artwork at Friar Park and remarked to a mutual friend of theirs that Harrison "must be f***ing mad" to be releasing a triple album, and described him as "look[ing] like an asthmatic Leon Russell" on the cover.[186] Later, in what author Alan Clayson describes as a case of "needling Paul rather than praising George",[187] Lennon told Rolling Stone editor Jann Wenner that he "preferred" All Things Must Pass to the "rubbish" on McCartney's eponymous solo album, released in April 1970.[188]
- ^ 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.[84]
- ^ Aside from the popularity of Harrison's recording, the song attracted a large number of cover versions in 1971.[198] The widespread success of "My Sweet Lord" worked against Harrison when a near-bankrupt music publisher, Bright Tunes, pursued an ultimately successful claim of plagiarism against him in the US district court, for unauthorised copyright infringement of the 1963 song "He's So Fine".[199]
- ^ 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.[200] In July 2006, the Official UK Charts Company changed its records to show that All Things Must Pass was the top-selling album throughout that time.[200]
- ^ Immediately after Wings' success, Harrison again held both number 1 positions, with his "Give Me Love" single and its parent album, Living in the Material World.[202][203]
- ^ Aside from non-vocal albums such as Harrison's Wonderwall Music and Electronic Sound, and Lennon's experimental work with Yoko Ono, beginning with Two Virgins (1968),[220] the solo albums up to January 1971 were as follows: Lennon's Live Peace in Toronto (1969), Starr's Sentimental Journey (1970), McCartney, Beaucoups of Blues, All Things Must Pass, and John Lennon/Plastic Ono Band (1970).[221]
- ^ 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.[238]
- ^ 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.[87] The revised artwork for All Things Must Pass was credited to WhereforeArt?[87]
- ^ 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 (1987), might be Your Planet Is Doomed – Volume One.[241]
- ^ The 2001 album booklet lists the musicians on these tracks straight after the song titles although publishing rights for all bar "It's Johnny's Birthday" are with Harrisongs only.[252] Inglis gives composers' credit to all the participants,[253] while Leng acknowledges Harrison alone.[254]
- ^ In Leng's book, Voormann claims 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."[257]
- ^ a b c Ben Gerson, "George Harrison All Things Must Pass", Rolling Stone, 21 January 1971 (retrieved 5 June 2013).
- ^ a b c Schaffner, p. 140.
- ^ a b c d e Harris, p. 68.
- ^ George Harrison, p. 164.
- ^ Leng, pp. 39, 51–52.
- ^ Tillery, p. 86.
- ^ Leng, p. 39.
- ^ George Harrison, pp. 55, 57–58.
- ^ Lavezzoli, pp. 176, 177, 184–85.
- ^ Leng, pp. 39, 53–54.
- ^ "Artist: Cream", Official Charts Company (retrieved 16 January 2013).
- ^ Sulpy & Schweighardt, pp. 1, 85, 124.
- ^ Martin O'Gorman, "Film on Four", Mojo: The Beatles' Final Years Special Edition, February 2003, p. 73.
- ^ Leng, pp 39, 55.
- ^ Leng, pp. 60–62, 71–72, 319.
- ^ O'Dell, pp. 106–07.
- ^ Rodriguez, p. 1.
- ^ Miles, pp. 351, 360–62.
- ^ Clayson, pp. 206–08, 267.
- ^ Spizer, p. 341.
- ^ Beatles timeline, Mojo Special Limited Edition: Days of Revolution, February 2003, p. 114.
- ^ Rodriguez, p. 21.
- ^ 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).
- ^ The Beatles, p. 350.
- ^ Spizer, p. 28.
- ^ Schaffner, pp. 137–38.
- ^ a b Hertsgaard, p. 283.
- ^ a b c d e f g h Spizer, p. 220.
- ^ Schaffner, p. 135.
- ^ a b Tillery, p. 87.
- ^ Miles, p. 335.
- ^ The Editors of Rolling Stone, p. 38.
- ^ Huntley, p. 19.
- ^ Clayson, p. 285.
- ^ Lavezzoli, p. 185.
- ^ Clayson, p. 284.
- ^ Hertsgaard, p. 277.
- ^ O'Dell, pp. 155–56.
- ^ Huntley, pp. 30–31.
- ^ a b c The Editors of Rolling Stone, p. 180.
- ^ Leng, p. 82.
- ^ Greene, pp. 179, 221.
- ^ a b c d Richie Unterberger, "George Harrison All Things Must Pass", AllMusic (retrieved 28 April 2012).
- ^ Harry Shapiro, "The Prince of Love ... Or How the Recording of 'Layla', Clapton's Ode to Forbidden Love, Made Victims of Derek and the Dominos", Mojo, January 2001; available at Rock's Backpages (subscription required; retrieved 27 September 2013).
- ^ a b c d Olivia Harrison, p. 282.
- ^ Spizer, pp. 212, 225.
- ^ Leng, p. 52.
- ^ Madinger & Easter, p. 423.
- ^ Sulpy & Schweighardt, p. 8.
- ^ a b Lavezzoli, p. 186.
- ^ a b c The Editors of Rolling Stone, p. 187.
- ^ Huntley, p. 21.
- ^ The Editors of Rolling Stone, pp. 38, 187.
- ^ Sulpy & Schweighardt, p. 269.
- ^ MacDonald, p. 302fn.
- ^ a b c d e f g h i Harris, p. 72.
- ^ Leng, p. 85.
- ^ a b Leng, p. 91.
- ^ George Harrison, p. 188.
- ^ "Billy Preston Encouraging Words", Apple Records (retrieved 19 January 2013).
- ^ Clayson, p. 273.
- ^ George Harrison, p. 206.
- ^ a b Harris, p. 70.
- ^ Leng, pp. 67, 71, 88, 89.
- ^ Clayson, pp. 280–81.
- ^ Castleman & Podrazik, p. 91.
- ^ a b George Harrison, p. 172.
- ^ Allison, p. 47.
- ^ a b c d e Schaffner, p. 142.
- ^ Inglis, p. 29.
- ^ Madinger & Easter, pp. 426, 431.
- ^ Badman, pp. 6, 7.
- ^ Inglis, pp. 28–29.
- ^ Clayson, p. 297.
- ^ Leng, p. 319.
- ^ a b Leng, p. 102.
- ^ Leng, pp. 87, 92, 102, 157.
- ^ Lavezzoli, p. 197.
- ^ Huntley, pp. 53, 56, 61.
- ^ Leng, pp. 76, 86.
- ^ Jody Rosen, "Music; Luxuriating in the Sprawl of That Early 70's Sound", New York Times, 29 July 2001, p. 2 (archived version retrieved 12 August 2013).
- ^ a b Clayson, p. 292.
- ^ Leng, pp. 101–02.
- ^ a b c d e f Spizer, p. 226.
- ^ Huntley, p. 60.
- ^ a b c Timothy White, "George Harrison: 'All Things' In Good Time", billboard.com, 8 January 2001 (retrieved 3 June 2014).
- ^ a b c d e Spizer, p. 228.
- ^ a b c Madinger & Easter, p. 432.
- ^ a b Castleman & Podrazik, p. 94.
- ^ a b Alan Smith, "George Harrison: All Things Must Pass (Apple)", NME, 5 December 1970; available at Rock's Backpages (subscription required; retrieved 15 July 2012).
- ^ Spizer, p. 230.
- ^ a b The Editors of Rolling Stone, p. 137.
- ^ a b c d Badman, p. 10.
- ^ a b Madinger & Easter, pp. 426–27.
- ^ "George Harrison – In His Own Words", superseventies.com (retrieved 10 November 2011).
- ^ a b c Madinger & Easter, p. 426.
- ^ "George Harrison – Beware of ABKCO!", Bootleg Zone (retrieved 18 January 2013).
- ^ Huntley, pp. 18–19.
- ^ Leng, pp. 52, 78.
- ^ Unterberger, pp. 286–88.
- ^ Leng, p. 180.
- ^ a b c d e Madinger & Easter, p. 433.
- ^ Madinger & Easter, pp. 433, 434.
- ^ Badman, p. 25.
- ^ Leng, p. 198.
- ^ Clayson, p. 280.
- ^ Huntley, pp. 305, 306.
- ^ Huntley, pp. 60, 325.
- ^ Leng, pp. 292, 303.
- ^ Rodriguez, p. 384.
- ^ a b Leng, p. 78.
- ^ a b Leng, p. 82fn.
- ^ Rodriguez, p. 76.
- ^ Schaffner, pp. 142, 147.
- ^ a b Huntley, p. 51.
- ^ Album review by Andrew Gilbert, in Robert Dimery, 1001 Albums You Must Hear Before You Die, Universe (New York, NY, 2005); quoted in The Super Seventies "Classic 500", George Harrison – All Things Must Pass (retrieved 19 January 2013).
- ^ Spizer, pp. 220, 222.
- ^ Leng, pp. 63, 78.
- ^ Clayson, p. 287.
- ^ Leng, pp. 56, 81.
- ^ Rodriguez, pp. 87–88.
- ^ a b c d e Spizer, p. 222.
- ^ Huntley, p. 52.
- ^ Leng, pp. 80, 82fn, 83fn.
- ^ The Editors of Rolling Stone, pp. 39–40, 187.
- ^ a b Woffinden, p. 38.
- ^ a b c Carr & Tyler, p. 92.
- ^ original UK artwork: "All Things Must Pass", Graham Calkin's Beatles Pages, 2002 (retrieved 20 January 2013).
- ^ a b c d Harris, p. 73.
- ^ a b The Editors of Rolling Stone, p. 176.
- ^ A Conversation with George Harrison; event occurs between 3:14 and 3:41.
- ^ Tillery, p. 161.
- ^ Castleman & Podrazik, pp. 199, 205.
- ^ a b c George Harrison's liner notes, booklet accompanying All Things Must Pass reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).
- ^ a b c d Huntley, p. 305.
- ^ Leng, pp. 78, 82fn, 86, 98.
- ^ Castleman & Podrazik, p. 198.
- ^ Leng, p. 69.
- ^ a b c d e f g h Madinger & Easter, p. 427.
- ^ Mike Tiano, "Alan White & The Beatles" at the Wayback Machine (archived 10 February 2007), Notes From The Edge, 2002 (retrieved 17 August 2012).
- ^ Gibb Songs: 1970, Columbia.edu (retrieved 10 November 2011).
- ^ Rodriguez, pp. 24, 260.
- ^ Spizer, pp. 222–25.
- ^ Madinger & Easter, p. 429.
- ^ a b c Leng, p. 81.
- ^ Schaffner, p. 138.
- ^ Badman, pp. 8, 10.
- ^ Leng, p. 77.
- ^ Leng, p. 80.
- ^ Madinger & Easter, pp. 427, 429, 431.
- ^ a b c Madinger & Easter, p. 428.
- ^ Madinger & Easter, pp. 428–31.
- ^ Madinger & Easter, p. 434.
- ^ Woffinden, pp. 36–37.
- ^ Badman, pp. 11–12.
- ^ Leng, pp. 100–01.
- ^ Castleman & Podrazik, pp. 92, 207.
- ^ Rodriguez, p. 77.
- ^ Reid, pp. 104, 105.
- ^ Castleman & Podrazik, p. 197.
- ^ Davis, p. 336.
- ^ Badman, p. 6.
- ^ "It's Really a Pity", Contra Band Music, 15 March 2012 (retrieved 19 January 2013).
- ^ Badman, pp. 6, 10, 15.
- ^ a b c d e f The Editors of Rolling Stone, p. 40.
- ^ a b c d Clayson, p. 289.
- ^ Leng, pp. 80–81.
- ^ Badman, p. 12.
- ^ Greene, p. 178.
- ^ Inglis, pp. 33–34.
- ^ Clayson, pp. 289, 297, 309.
- ^ The New Rolling Stone Encyclopedia of Rock & Roll, p. 183.
- ^ Madinger & Easter, pp. 427, 429.
- ^ Spizer, pp. 212, 222.
- ^ Badman, p. 14.
- ^ Hertsgaard, pp. 307–08.
- ^ Spizer, p. 294.
- ^ Leng, pp. 108, 110, 123.
- ^ Castleman & Podrazik, pp. 105–08, 115.
- ^ A Conversation with George Harrison; event occurs between 0:56 and 1:36.
- ^ a b Clayson, p. 291.
- ^ Madinger & Easter, pp. 427–28.
- ^ "George Harrison: Titles including 'The Making of All Things Must Pass'", Bootleg Zone (retrieved 28 January 2013).
- ^ Clayson, p. 293.
- ^ Leng, p. 95.
- ^ a b Huntley, p. 64.
- ^ Clayson, p. 305.
- ^ a b Badman, p. 16.
- ^ Spizer, pp. 221, 226.
- ^ Spizer, pp. 226–28.
- ^ Clayson, pp. 293–94.
- ^ a b Woffinden, p. 37.
- ^ The Editors of Rolling Stone, pp. 179–80.
- ^ Smith, p. xx.
- ^ Clayson, p. 294.
- ^ Peter Doggett, "Fight to the Finish", Mojo: The Beatles' Final Years Special Edition, February 2003, p. 136.
- ^ Rodriguez, pp. 254–55.
- ^ a b Clayson, p. 295.
- ^ Woffinden, pp. 99, 102.
- ^ a b c "Number one for Harrison at last", icLiverpool, 31 July 2006 (retrieved 4 December 2007).
- ^ Castleman & Podrazik, pp. 352, 362.
- ^ a b Castleman & Podrazik, pp. 353, 364.
- ^ Spizer, pp. 153, 156.
- ^ Castleman & Podrazik, p. 332.
- ^ Gold & Platinum Database Search: "Harrison", Recording Industry Association of America (retrieved 12 February 2013).
- ^ Spizer, p. 219.
- ^ a b c d e John Bergstrom, "George Harrison: All Things Must Pass", PopMatters, 14 January 2011 (retrieved 10 March 2012).
- ^ Tillery, p. 89.
- ^ Blender album review: "George Harrison All Things Must Pass (reissue)", Blender, February 2001 (issue 21).
- ^ a b Christgau, p. 171.
- ^ Larkin, p. 158.
- ^ David Browne, "All Things Must Pass Review", Entertainment Weekly, 30 January 2001 (retrieved 7 February 2014).
- ^ a b Graff & Durcholz, p. 529.
- ^ a b Album review, Q, March 2001, pp. 122–23.
- ^ a b Anthony DeCurtis, "George Harrison All Things Must Pass" at the Wayback Machine (archived August 14, 2006), Rolling Stone, 12 October 2000 (retrieved 1 April 2012).
- ^ Zagat Survey, 2003, quoted in The Super Seventies "Classic 500", Zagat Survey Music Guide: 1,000 Top Albums of All Time (retrieved 19 April 2012).
- ^ a b Badman, p. 24.
- ^ a b Rodriguez, p. 147.
- ^ "Album Reviews", Billboard, 19 December 1970, p. 50 (retrieved 28 November 2012).
- ^ Williams, p. 152.
- ^ Schaffner, pp. 207–09.
- ^ Robert Christgau, "Living Without the Beatles", robertchristgau.com (retrieved 8 February 2014).
- ^ Schaffner, pp. 138, 142.
- ^ Olivia Harrison, p. 7.
- ^ The Editors of Rolling Stone, p. 42.
- ^ "George Harrison – All Things Must Pass CD Album" > Product description, CD Universe/Muze (retrieved 6 August 2014).
- ^ Moon, p. 345.
- ^ James Hunter, "George Harrison All Things Must Pass 30th Anniversary reissue", Rolling Stone, 29 March 2001; quoted in The Super Seventies "Classic 500", George Harrison – All Things Must Pass (retrieved 4 June 2014).
- ^ Randall, Brackett & Hoard, p. 367.
- ^ Leng, pp. 76, 103.
- ^ a b Inglis, p. 23.
- ^ The Super Seventies "Classic 500", George Harrison – All Things Must Pass, superseventies.com (retrieved 4 June 2014).
- ^ Moon, pp. 345–46.
- ^ "101 albums that changed popular music: a reference guide – Chris Smith", Google Books search (retrieved 8 February 2013).
- ^ Tom Cox, "The alternative top 10", The Guardian, 29 January 1999 (retrieved 17 August 2012).
- ^ "500 Greatest Albums of All Time: George Harrison, 'All Things Must Pass'", Rolling Stone (retrieved 12 June 2012).
- ^ Tillery, p. 146.
- ^ Badman, pp. 686, 689.
- ^ Leng, p. 284.
- ^ Tillery, p. 147.
- ^ Huntley, pp. 309–10.
- ^ Leng, pp. 284–85.
- ^ Leng, pp. 299, 304.
- ^ Huntley, pp. 307–08.
- ^ "Billboard Top Pop Catalog Albums", Billboard, 10 February 2001, p. 13 (retrieved 11 February 2013).
- ^ a b "All Things Must Pass" > Charts & Awards > Billboard Albums, AllMusic (retrieved 11 February 2013).
- ^ a b c "Artist: George Harrison" > Albums, Official Charts Company (retrieved 7 May 2013).
- ^ "Billboard charts", Billboard, 26 January 2002, p. 66 (retrieved 11 February 2013).
- ^ a b "Billboard Top Pop Catalog", Billboard, 27 October 2007, p. 78 (retrieved 11 February 2013).
- ^ News > October 19, 2010: "All Things Must Pass 40th Anniversary 3-LP Vinyl Collection", georgeharrison.com (retrieved 12 February 2013).
- ^ Mike Duquette, "All Things Come to Pass", theseconddisc.com, 19 October 2010 (retrieved 12 February 2013).
- ^ a b Booklet accompanying All Things Must Pass reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).
- ^ Inglis, p. 147.
- ^ Leng, pp. 99–101.
- ^ Leng, pp. 78, 82–102.
- ^ Whitlock, pp. 75–76, 79–82.
- ^ Leng, p. 102fn.
- ^ "Grammy Awards 1972", awardsandshows.com (retrieved 26 February 2014).
- ^ a b Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6. (retrieved 20 May 2011).
- ^ "RPM 100 Albums, 26 December 1970", Library and Archives Canada (retrieved 3 October 2011).
- ^ "George Harrison – All Things Must Pass", Hung Medien/dutchcharts.nl (retrieved 12 September 2011).
- ^ a b "Hit Parade Italia – Gli album più venduti del 1971", hitparadeitalia.it (retrieved 3 October 2011).
- ^ a b "George Harrison: Chart Action (Japan)", homepage1.nifty.com (retrieved 11 February 2013).
- ^ "George Harrison – All Things Must Pass", norwegiancharts.com (retrieved 12 September 2011).
- ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
- ^ "Swedish Charts 1969–1972/Kvällstoppen – Listresultaten vecka för vecka" > Februari 1971 > 9 Februari (in Swedish), hitsallertijden.nl (retrieved 13 February 2013). Note: 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.
- ^ "Album – George Harrison, All Things Must Pass", Media Control/charts.de (retrieved 11 February 2013).
- ^ "Tous les Albums classés par Artiste" > Choisir un Artiste dans la Liste (in French), infodisc.fr (retrieved 13 February 2013).
- ^ "Dutch charts jaaroverzichten 1971" (ASP) (in Dutch). Retrieved 2 April 2014.
- ^ "Billboard 1970's Album Top 50 (Part 1)" > 1971, 7 December 2007 (retrieved 13 February 2013).
- ^ "Canadian album certifications – George Harrison – All Things Must Pass". Music Canada.
- ^ "British album certifications – George Harrison – All Things Must Pass". British Phonographic Industry. Enter All Things Must Pass in the field Search. Select Title in the field Search by. Select album in the field By Format. Click Go
- ^ "American album certifications – George Harrison – All Things Must Pass". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
- 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, Anthology, Chronicle Books (San Francisco, CA, 2000; ISBN 0-8118-2684-8).
- Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, Trewin Copplestone Publishing (London, 1978; ISBN 0-450-04170-0).
- Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
- 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.
- 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).
- The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
- Gary Graff & Daniel Durcholz (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, July 2001.
- 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).
- Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; ISBN 0-330-33891-9).
- Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
- Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
- Colin Larkin, The Encyclopedia of Popular Music (volume 4), Oxford University Press (2006; ISBN 0-19-531373-9).
- 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).
- Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
- Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ISBN 0-7119-8308-9).
- Tom Moon, 1,000 Recordings to Hear Before You Die, Workman Publishing (New York, NY, 2008; ISBN 978-0-7611-5385-6).
- The New Rolling Stone Encyclopedia of Rock & Roll, Fireside/Rolling Stone Press (New York, NY, 1995; ISBN 0-684-81044-1).
- Chris O'Dell with Katherine Ketcham, Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved, Touchstone (New York, NY, 2009; ISBN 978-1-4165-9093-4).
- Mac Randall, Nathan Brackett & Christian Hoard (eds), The New Rolling Stone Album Guide (4th edn), Simon & Schuster (New York, NY, 2004; ISBN 0-7432-0169-8).
- Jan Reid, Layla and Other Assorted Love Songs by Derek and the Dominos, Rodale (New York, NY, 2006; ISBN 978-1-59486-369-1).
- Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
- Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
- Chris Smith, 101 Albums That Changed Popular Music, Oxford University Press (New York, NY, 2009; ISBN 978-0-19-537371-4).
- 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).
External links[edit]
- Official website
- All Things Must Pass (Adobe Flash) at Radio3Net (streamed copy where licensed)
- All Things Must Pass at Discogs (list of releases)
- Albums certified gold by the Canadian Recording Industry Association
- Albums certified gold by the British Phonographic Industry
- Albums certified multi-platinum by the Recording Industry Association of America
- 1970 debut albums
- Albums produced by George Harrison
- Albums produced by Phil Spector
- Albums recorded at Abbey Road Studios
- Albums recorded at Trident Studios
- Apple Records albums
- English-language albums
- George Harrison albums


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HILLSVILLE –– Some came hoping to see an upset. Others may have come looking for a blowout. Everyone went home having witnessed a very good, entertaining basketball game.
Galax overcame a sluggish start, rallied into the lead before halftime and trailed by just five points with less than four minutes to go before Carroll County pulled away for a 54-44 nondistrict win in a girls' game Wednesday night.
INDEPENDENCE –– Tied at halftime, Grayson County outscored Carroll County 44-25 in the second half to take a 69-50 nondistrict boys' win Tuesday.
The Blue Devils (8-4) were led by Eric Harvey's 16 points. Steven Eller scored 15, Bubba Bowen added 10 and Preston Bowen chipped in with eight points, 10 rebounds and six steals.
Tyler Reavis hit four 3-pointers and led all scorers with 18 points for the Cavaliers (2-10).
Carroll County 11 14 9 16––50
Grayson County 12 13 18 26––69
INDEPENDENCE –– Galax and Grayson County entered Mountain Empire District play Friday as the two winningest teams in the league through the nondistrict portion of their schedules. The gap between No. 1 and No. 2 may not be as great as many might have believed.
Before a standing-room-only horde at Grayson County Middle School, the Maroon Tide and the Blue Devils entered the fourth quarter on even terms before Galax pulled away for a 66-59 win, taking a big first step in MED play.
INDEPENDENCE –– It's only one game deep into what is a very balanced, very competitive Mountain Empire District race, but for now, Galax is sitting on the top looking down.
The Maroon Tide took a good first step in district play, opening up with a 55-27 win Friday night over Grayson County to take an early lead in the MED standings. Galax improved to 5-6 overall, 1-0 in the league, while Grayson County dropped to 1-12, 0-1.
HILLSVILLE – A game that started out with so much promise turned out to be another tough loss for the Carroll County varsity boys Friday night.
The Cavaliers (2-11 overall, 1-3 district) entered the game having lost eight of their last nine games, and Friday ended no different as Tazewell (4-6, 2-1) came in and dominated them on their home court, taking a 79-61 Southwest District win.
The Cavs began the game strong, scoring 11 of the game's first 14 points.
HILLSVILLE – Carroll County remained undefeated and number one in the district following a 49-46 girls' win over Tazewell Friday night.
It wasn't easy for the Cavaliers (6-5 overall, 4-0 district), though, having to hold off a stubborn Bulldog (2-7, 1-3) team looking for only its third win in the last seven games.
The Cavs opened the game up on a mission to put the Lady Dogs away early, outscoring them 16-7 in the first eight minutes.
HILLSVILLE –– Pulaski County has evidently been working hard on its free throw defense.
The Cougars took advantage of a chilly night at the foul line by the Cavaliers and held off a second-half rally to escape with a 48-41 nondistrict win Monday night.
Carroll County hit just 6-of-19 from the stripe, or 31.6 percent, in falling to 4-5 on the year. The Cougars crept over the .500 mark with the win, improving to 5-4.
GRUNDY –– Carroll County had four wrestlers reach the championship finals and placed ninth out of 36 teams at the prestigious 29th annual Agie Skeens Memorial Tournament Dec. 29-30 at Riverview Middle School.
Drew McCraw finished the event 4-0 and won the individual championship in the 275-pound weight class. McCraw drew a first-round bye and followed up with two pins, sticking Michael LaPrade of Turner Ashby in 1 minute, 34 seconds, then pinning Alleghany's Martin Garcia 46 seconds into the championship quarterfinals.
GRUNDY –– Carroll County rallied from an eight-point deficit in the final four minutes to overtake Grundy 70-65 in a Southwest District boys' game Saturday afternoon.
Grundy's Jordan Ellis sank two foul shots for a 61-53 Golden Wave lead before James Lanning's 3-pointer sparked a 17-4 Cavalier run to the final horn.
Tyler Reavis' layup gave Carroll County the lead for good, 64-62, with 1:15 to play. Reavis led all scorers with 25 points, Lucas Marshall scored a career-high 14 and Lanning chipped in 12.
Many of the nation's leading sports news outlets are hailing 2008 as the best sports year ever. It kind of depends on your perspective.
For example, it's very doubtful the Detroit Lions, the University of Washington football team or the Memphis men's basketball team would agree. Nor would Jake Brown, the X-Games skateboarder who augured into the ground from 40-plus feet on national television.
Copyright © 2014
The Galax Gazette is your source for local news, sports, events and information in Galax, Grayson, Carroll, and surrounding areas.


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Last Red CCC Cub Cadet 782 ever made
IHC Cub Cadet Forum -- Questions and answers to all of your Cadet related issues.
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Last Red CCC Cub Cadet 782 ever made
I have seen lots of charts of production and serial numbers for IH and CCC Cub Cadets on various sites. None, that I can find, show when the later serial numbers of the last RED CCC Cub Cadet 782. I have seen one chart that goes thru 1984. But nothing shows up for 1985. Anyone have the 1985 production/serial numbers? What was the last Red Cub made?
Re: Last Red CCC Cub Cadet 782 ever made
What you are asking does not exist. Once CCC took over, they discontinued tracking of specific serial numbers except for start and stop numbers (although, that's all that IH really did too). However, when the last red 782 Cub Cadets were being built, CCC was also building yellow/white 782 Cub Cadets, on the same production line. So, there is likely no specific serial number for the last "red" tractor built, maybe just the last "782" built. Also, remember, ALL of the *82 series cub cadets were manufactured this way, so the last red tractor could have been a 1282, 582, 682, 782, 982, etc.
Ironically, I've seen MANY Cub Cadet Corporation (post 1984) *82 series tractors that are restored and painted red now, that originally came off the line as yellow/white ones, just because someone wanted to restore it as a red tractor. The serial number plates on the CCC built Cub Cadets do not differentiate the color in any way, so theoretically it's perfectly fine to paint one red or yellow/white and knowone would ever know if it's right or wrong.
The data for 1984 is significant because it is the last IH build Cub Cadet tractor. In this case, you can say that the last one built was "red" because that is the only color that IH painted the *82 series tractors.
1951 Farmall Cub, Cub Cadets 102, 104, 1811, 1864, Simplicity Legacy XL 4x4 Diesel with FEL, 60" mower, 50" Tiller
Re: Last Red CCC Cub Cadet 782 ever made
The model numbers for the 782 CCC made cub cadets is a number like "145782399". I have seen that the middle 3 digits "782" would be the model number and the last 3 digits "399" meant that it was a CCC made for IH. If that is correct, then the "399" would be Red and have the IH decals. If it has the "100" noted on the attached chart as the last 3 digits, it might be the yellow/white version. The chart indicates that in 1984, the production went to 737,624. The 782 i have been checking on is 743,365 and model 145782399. Since both the model and serial are on the same stamped plate, it would seem that someone (CCC) would know what the last Red 782 serial/production # is.
Re: Last Red CCC Cub Cadet 782 ever made
The last Cub Cadets built by IH were built in 1981, not 1984.The last IH built 482 and 982 were built in Feb 1981, the last IH built 582, 582S, 682, and 782 were built in Apr 1981. CCC built the red 82 series tractors to be sold by the IH ag dealers from 1982 to 1985 (1985 model year), along with the yellow and white versions for sale by Cub Cadet Lawn Power dealers.
145782399 is a Factory Number used by CCC. It does indeed identify that tractor as a 782 built for IH in 1985. The 145 = the model year 1985, 782 = the model or "Hood Decal", and 399 = IH. If that factory number ended in 100 rather than 399, it would mean the tractor was a yellow and white version. The serial number range used for 1985 was 737,625 to 747,224, and that range included ALL 82 series built in the 85 model year, including both red and yellow and white models. There was also a "Kind Code" used for the red models that also identified the model.
The year codes used by CCC for the 82 series is as follows: 142=1982, 143=83, 144=84, 145=85. The Serial Number range was different for each year, but to my knowledge there is no way to tell what S/N was used on what tractor/what model/what color.
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5 Financial Stocks On The Rise
Editor's Note: Any reference to TheStreet Ratings and its underlying recommendation does not reflect the opinion of TheStreet, Inc. or any of its contributors including Jim Cramer or Stephanie Link.One out of the three major indices are trading up today with the Dow Jones Industrial Average (^DJI) trading up 7 points (0.0%) at 14,818 as of Tuesday, Sept. 3, 2013, 12:45 PM ET. The NYSE advances/declines ratio sits at 1,623 issues advancing vs. 1,312 declining with 88 unchanged.The Financial sector currently sits up 0.4% versus the S&P 500, which is down 0.3%. Top gainers within the sector include Orix Corporation (IX), up 5.8%, Shinhan Financial Group (SHG), up 5.3%, Nomura Holdings (NMR), up 5.3%, Mitsubishi UFJ Financial Group (MTU), up 4.3% and KB Financial Group (KB), up 3.0%. A company within the sector that fell today was Simon Property Group (SPG), up 1.3%.TheStreet would like to highlight 5 stocks pushing the sector higher today:5. MasterCard Incorporated (MA) is one of the companies pushing the Financial sector higher today. As of noon trading, MasterCard Incorporated is up $17.40 (2.9%) to $623.48 on average volume. Thus far, 499,018 shares of MasterCard Incorporated exchanged hands as compared to its average daily volume of 686,200 shares. The stock has ranged in price between $610.49-$624.00 after having opened the day at $612.00 as compared to the previous trading day's close of $606.08. MasterCard Incorporated, together with its subsidiaries, provides transaction processing and other payment-related services in the United States and internationally. MasterCard Incorporated has a market cap of $70.3 billion and is part of the financial services industry. Currently there are 18 analysts that rate MasterCard Incorporated a buy, no analysts rate it a sell, and 11 rate it a hold.TheStreet Ratings rates MasterCard Incorporated as a buy. The company's strengths can be seen in multiple areas, such as its revenue growth, impressive record of earnings per share growth, compelling growth in net income, expanding profit margins and good cash flow from operations. We feel these strengths outweigh the fact that the company is trading at a premium valuation based on our review of its current price compared to such things as earnings and book value. Get the full MasterCard Incorporated Ratings Report now.3x UPSIDE POTENTIAL: TheStreet Quant Ratings has identified a handful of stocks that can potentially TRIPLE in the next 12-months. Learn more.
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Pod Pluses
Pod propulsion brings many advantages to boating and precious few disadvantages. About the only disadvantage might be that in some cases the draft of a vessel may be deeper with pods than with standard props, shafts and struts.
Thrust parallel to the water's surface for the least misdirected thrust. See illustration.
Ease of maneuvering: With the joystick, you can move your boat forward, backward, sideways or diagonally against wind and current. A child can do it!
Significant drag reduction from rudder removal: The pods move independently, providing both thrust and steering. You no longer need rudders.
Shear result - one of the most common fears. All pod systems have been engineered to shear off cleanly in case of a catastrophic collision, leaving the bottom of the boat with full watertight integrity. You can't say that about a standard prop and strut, especially when the strut pushes up through the hull.
Single-lever control: All systems can be configured to throttle and synchronize both (or multiple) engines by using one control lever.
Auto sync: All three electronic control systems provide automatic synchronization of engines.
Auto trim: Zeus and ZF come with trim tabs built into the pods. Volvo Penta sells QL trim tabs separately. All three can provide automatic optimum trim depending on speed, load and conditions.
Dynamic positioning: At the push of a button, software can automatically keep your boat within a few feet of any desired geographic position and on the same heading. You won't have to drop an anchor when bottomfishing again. And you won't spend a half-hour jockeying around waiting for a bridge to open. Just push the button and keep an eye out.
Proportional steering: When cruising, software controls how sharply you turn based on speed. Want a tighter arc? Slow down a little.
Cost: In most cases, the cost of pod drives is similar to the cost of standard propulsion. While the equipment is more expensive, the engine and drive installation requires only a small fraction of the man-hours that standard propulsion does, making the cost difference close to a wash.
Exhaust through drive: Exhaust exits underwater through the drive and bubbles to the surface far behind the boat, resulting in a cleaner, quieter ride.
Average 50 percent quieter: Underwater exhaust combined with the massive rubber gaskets sandwiching the pod and hull together mean less vibration and less noise.
Increased living space: Pods mostly live under the aft deck, freeing up what used to be an engine room for an additional cabin, tackle storage, disco or whatever.
Average 20 percent higher top speed: Parallel thrust and less underwater appendage drag result in a higher top speed for less horsepower.
Average 30 percent greater fuel economy: More efficient counter-rotation dual props, parallel thrust and less drag mean greater fuel economy.
Average 40 percent greater range: Thirty percent increased fuel economy equates to roughly 40 percent greater range.
Joystick maneuvering: Even someone who has no boating experience can learn to handle the helm like a pro with only minutes of instruction.
Recently, Volvo Penta created a program to allow boat owners to repower vessels equipped with standard props and shafts with its IPS propulsion. Watch out, world. Pods make driving boats fun again!


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The most frustrating part of the trip was that we were cut short for the on-shore time. We rushed to meet the "All aboard" time for both ports in Japan, only to spend the next 2 hours sitting around waiting for the people who joined the group excursions to come back.
We also experienced a very rough day at sea as we sailed from Xia Men to Kagoshima. Many people were sea sick and the whole ship smelt off dull vinegar and sweat. Many waiters and performers could not work since they got sea sickness too! We were all eagerly waiting for an announcement or two from the Captain to reassure us of the rough ride, or perhaps to tell us how to deal with the sea sickness but we waited in vain. In fact, the Captain seemed quite distant throughout the whole trip - not only were his announcements rare, we didn't even get a speech out of him at the Captain's Welcome formal dinner!
The itinerary was a let down, especially during sea days. I found that there was not enough to do and I spent more time than I would have liked in my stateroom not doing much. Activities mainly included napkin folding and jewelry making classes, dancing classes, music performances and game shows. Unfortunately, things like enrinchement talks were not to be seen. There were two movie nights, both quite late at night, as well as parties on the top floor were people we're allowed to smoke. There was one cooking class on how to decorate a cake, however it was not much fun since you couldn't see much through the crowds of mainland Chinese tourists who insisted on standing right next to the chefs and drooling down their necks.
On a brighter note, as mentioned earlier on, the staff were very friendly - especially the waiters who worked in the dining hall. We had some good conversation with our assigned waiter and got some bonus napkin folding classes out of him during dinner. The entertainment was quite good as well. We had a big production every night starring named performers such as Marsha Volgji ( dancer) and Metro (acapella singing group). There was also a famous chinese singer which stirred up a lot of excitement in the crowd of a thousand mainland Chinese tourists ( who made up the majority of the people on the cruise). We often had singers and instrumentalists performing in the Centrum, from classical pianists to Jamaican party-rockers, so there was a good range of music to satisfy most peoples tastes.
Our room was also quite big for a regular stateroom on a ship. The three of us could fit comfortably in our stateroom. There was enough room to walk around without having to navigate our way around our suitcases. There were also some relatively new movies playing on loop on our tiny ancient television. The whole ship was very clean and our rooms were made twice a day. Their 'save the seas' project to be a more environmentally friendly ship was reassuring and I appreciated that.
At the end of the day, when I came home, I was more tired than I began with. To be honest, I was looking forward to leaving the cruise which is not how one should feel at the end of a cruising holiday.


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Seabridge North 108 in Ormond by the Sea
- bedrooms 2
- baths 2
- sleeps 6
- pool yes
- hot tub no
- pets allowed no
- type Condo
- community Seabridge
rates (USD)
/ week
$ 1,395 - $ 1,495 / month
vacation rental description
An oceanfront, ground-floor condo along Route A1A and 50 yards from the beach. The condo has room for six guests: two bedrooms with queen bed, two bathrooms (tub and shower) and a sleeper sofa for two. It is fully furnished with washer/dryer, cable TV, DVD and video player, wireless internet, radio, CD and iPOD player, books, board games and cards, extra batteries and bulbs, smoke detectors, ironing board with iron, bedding, extra pillows, blankets, towels, kitchen utensils, dishes, coffee maker, water cooker, toaster, microwave, spices, beach items (towels, toys, small surf boards, lightweight folding chairs, umbrella), and a balcony with raised chairs and table.
vacation rental location
property availability
- dates with deals
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Last modified on 08-18-2014 at 4:51 PM.
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Marvin Lindroth, owner 386-441-8245
condo rental amenities
Condominium pool, private parking, recyclable trash and trash container, elevators, and staircases. Since this unit is on the ground floor, there are no steps; however, the condo is not equipped for wheelchair-bound persons. Quiet condominium with friendly owners and guests.
activities and attractions in Ormond by the Sea Atlantic Coast Central
Supermarkets, shops, restaurants and bicycle rentals are five miles south in Ormond Beach. Another three miles south are the beachside attractions of Daytona Beach, which include a wide driveable beach, restaurants, shops, and a waterpark. Historic Daytona has a park, a museum, shops, restaurants and the Daytona Beach Cubs minor league baseball games. Five miles inland are department stores and the motor speedway.
Other nearby attractions include the scenic public parks, such as the Tomoka State Park and Bulow Plantation Ruins Historic State Park, and golf courses. Twenty-five miles inland are natural-spring parks for swimming, the closest being Blue Spring and DeLeon Springs.
Eight miles north on Route A1A is the leisurely town of Flagler Beach with pedestrian and fishing pier, shops, outdoor music performances, craft vendors, and beachside restaurants. Fifty miles further north is the historic city of St. Augustine.
vacation rental rates
Minimum rates: one week ($545) or month ($1395). Jan., Feb. Mar. is monthly only.
*Notice: Cleaning fee is free.
Required add-ons to the rental rate are renters insurance fee ($25) and 12.5% Florida sales tax.
Marvin Lindroth, owner 386-441-8245
accepted payment methods
Prior to paying a reservation deposit, always verify payment instructions by calling the phone number displayed on this listing page. By contacting the owner directly and paying by an approved method - credit card, paypal, check or bank transfer - your reservation payment will be protected up to $1,000.Learn more in our Security Center
Top things to do in Ormond by the Sea
- Beach relaxation
- Leisurely walking and bicycling
- Swimming
- Nature hiking
- Shopping
Top things to do on a budget
- Enjoying the beach
- Swimming
- Fishing
- Bicycling
- Nature walking
Top things to do with a family
- Enjoying the beach
- Spending time at the waterpark in Daytona
- Visiting the Ponce Inlet lighthouse
- Swimming in the inland springs
- Paddling and fishing in the state parks
Marvin Lindroth, owner , owner


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One man is in jail while another one is in the hospital after a stabbing in South Bend.
Dispatchers tell FOX 28 the call came in at 11:44 Wednesday night for a person stabbed on 28th Street near the corner of Jefferson Boulevard.
Police found the suspect about an hour later -- at 12:50 Thursday morning at Nick's Patio on North Ironwood Drive. That man was arrested.
We're told the victim is still in the hospital. His condition is unknown, but dispatchers tell FOX 28 police have reason to believe the two men knew each other.
WSJV-TV FOX 2858096 County Road 7, SouthElkhart, IN 46517
Switchboard: 574.679.9758News Phone: 574.679.4545Station Fax: 574.294.1267Email: email@example.com


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Reader™ with 6.0" paper-like touch screen (Black)
This slim and light Reader with touch screen puts thousands of your favourite stories at your fingertips. Effortlessly turn the page with a swipe of your finger and the glare-free screen reads just like a real book, even under direct sunlight.
- 6" E-Ink® Pearl is designed to feel like a real book with a glare-free paper-like screen for reading
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Diangelo Beasley was watching TV last month in a day room in the Cook County Jail.
He was locked up on a serious drug charge — and he was full of despair.
His daughter was 8 months old and his only chance to see her was when her mother brought her to the jail on visits.
Then, something on the news grabbed his attention. There on the screen were the three Schaumburg Police officers who arrested Beasley. And they were accused of being dirty cops.
"I saw them guys on TV and I said, 'Hopefully I will finally get some justice,' " Beasley said.
Since that day, Cook County prosecutors have dismissed criminal cases against Beasley and 14 other people because they had been arrested by the accused Schaumburg officers: John Cichy, Matthew Hudak and Terrance O'Brien.
On Monday, Beasley's attorney filed a lawsuit in federal court against those officers and the village of Schaumburg.
The lawsuit said the officers beat Beasley and arrested him on a false drug charge last summer in nearby Arlington Heights. Schaumburg authorities had failed to supervise the officers properly, the lawsuit said.
"My client got lucky," said Beasley's attorney, David S. Lipschultz, of the law firm Goldberg Weisman Cairo.
"If the federal and local authorities had not arrested those officers, Diangelo would not only still be in jail but would likely be facing many years in prison away from his new family," Lipschultz said.
Beasley is no angel. He went to prison on a drug charge in 2005 and was on probation for a 2011 drug conviction when he was arrested in Arlington Heights last summer.
But the 25-year-old Englewood resident said he decided to turn his back on the streets when his daughter Rosina was born on May 6, 2012.
"She was barely a month old when I was arrested," he said in an interview Monday. "It was devastating."
Beasley said he was working part time in his uncle's car repair shop and doing other odd jobs when he was busted by the officers on June 27, 2012.
"I still knew people from my past, but I changed," he said.
On the day he was arrested, Beasley had taken a Metra train from Chicago to Arlington Heights to meet a friend who lives in Schaumburg. They were planning to drive to a party in Palatine, he said.
A stranger — later identified as Hudak — was in the friend's car, Beasley said.
He said Hudak, who didn't say he was a cop, asked Beasley for the name of a drug dealer.
When he refused to give up the name, Hudak pistol-whipped his head, Beasley said.
Then Hudak pulled Beasley from the car and the other officers tackled and beat him, he claims.
The officers alleged that they had seized cocaine from him — which he says is a lie.
Beasley also said the officers stole more than $400 he was carrying.
"Every other time I got locked up, my money got inventoried," he said.
The officers, who have resigned, are accused of stealing drugs and money from narcotics dealers, then reselling the drugs through another dealer over a nine-month period. O'Brien confessed that the officers committed the crimes "for the thrill of it," Cook County prosecutors said.
In late January, prosecutors dropped a charge of delivery of a controlled substance against Beasley. If convicted, he would have faced six to 30 years in prison.
Beasley's lawsuit is the second one filed against the officers in federal court.
Earlier this month, Hudak and O'Brien were sued for allegedly seizing $5,000 from a Hoffman Estates home in a 2011 drug raid — but inventorying only $2,820. Later that year, a judge dismissed drug charges against Kelley Altom, who filed the lawsuit. The judge said the search warrant was inadmissible.
Beasley, meanwhile, said: "I've lost eight months of my life that I can't get back," referring to the time he spent in jail waiting for trial in the Schaumburg case.
"Anybody who sees their daughter grow up through the glass — that's hard," he said.
Police are investigating the murder of a homeless man who was beaten to death in an alley in Logan Square.
205 N. Michigan AvenueGround FloorChicago, IL 60601Station Operator: (312) 565-5532Newsroom: (312)565-5533


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The ship is pretty, very clean and well laid out. I was disappointed in the condition of our stateroom however. Behind that closed door, we found a different situation than I had seen in the public areas. The Rubbermaid bath mat had quite a bit of black mold on it, as did the lining of the drapes at the sliding glass doors to the veranda. The shower curtain liner kept falling from the hooks. The ice bucket had quite a bit of rust on the outside. The loveseat was worn, not unlike a college apartment piece of furniture. The towel bathmat was ragged. I simply felt the public areas were more important to HAL than the private areas.
Neither my daughter or I were very impressed with the food. I ate lots of salads from the Lido salad bar at lunch. The Italian station had some good choices. My dessert consisted of ice cream because I couldn't find any of the baked goods that were tasty.
Ports of call: We have loved the small Alaska towns in the past. Unfortunately, these are becoming another shopping mecca for cruise ship diamond stores. I'd prefer the local shops, and that is where I headed to spend my money. Overall, we enjoyed the trip. I just wished for better quality from HAL.