The Cavern
Rock & Words
ALL THINGS MUST PASS (George Harrison, 1970)
Artist: George Harrison (D+)
Recording Dates: May – Sep –‘70
Release Date: November 27th, 1970. UK
Record Label: Apple
Producer: George Harrison & Phil Spector
Rating: 10 (MUST HAVE, ICONIC ALBUM)
Era: The Great Transition (1970-1980+)
Subgenre: The Great Transition
Best Song: My Sweet Lord, or Wah-Wah, or All Things Must Pass, or If Not for You or... or… or…
Tracklist:
Disc 1: 1) I'd Have You Anytime; 2) My Sweet Lord; 3) Wah-Wah; 4) Isn't It A Pity (Version 1); 5) What Is Life; 6) If Not For You; 7) Behind That Locked Door; 8) Let It Down; 9) Run Of The Mill.
Disc 2: 10) Beware Of Darkness; 11) Apple Scruffs; 12) Ballad Of Sir Frankie Crisp (Let It Roll); 13) Awaiting On You All; 14) All Things Must Pass; 15) I Dig Love; 16) Art Of Dying; 17) Isn't It A Pity (Version 2); 18) Hear Me Lord.
Disc 3: 19) Out Of The Blue; 20) It's Johnny's Birthday; 21) Plug Me In; 22) I Remember Jeep; 23) Thanks For The Pepperoni.
Bonus Tracks 2001: 24) I Live For You; 25) Beware of Darkness (Acoustic version); 26) Let It Down (Acoustic Version); 27) What Is Life (Early version); 28) My Sweet Lord (2000).
This is one of the most beautiful albums I've ever heard. Without a doubt, the best work by an ex-Beatle , surpassing Plastic. Ono Band and John's Imagine, and Paul's Band On The Run. It was his catharsis after so many years in the shadow of Lennon/McCartney, the quartet's quintessential songwriting partnership. Many of the songs on this album had been written since '66, but rejected by John and Paul, who considered them inferior. Well, there you have it! As soon as George was free of the anvil called the Beatles, he released not one, not two, but THREE great albums with all these discarded tracks, some new compositions, and jams with friends. The first triple album by a solo artist that was neither a compilation nor a live album. Well, we could consider it Harrison's " Greatest Hits" if we wanted, couldn't we? After all there are no fillers ! In George's own words : "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." Hahaha!
So our introspective Beatle made a well-rounded album, pouring out everything he had been holding back, resulting in three discs packed with everything: spiritual songs genuinely inspired by his beliefs but that don't sound preachy or forced, unlike his Hindu-inspired experiments with the Beatles; we have great rockers with massive walls of sound courtesy of Phil Spector; there are adorable, minimalist acoustic tracks; a Dylan cover and another co-written with him; a couple of songs that show he also had a sense of humor; and finally, top-notch jams . It only lacked a bit of salsa! In my opinion, George proved to himself, more than to John or Paul or the whole world, his ability as a musician and songwriter by making such an extensive and high-quality album, without any filler. As I've said before, making a double album is incredibly risky, because usually the band comes out riding high from a previous great album and tends to mess things up with a pretentious album full of filler. Good double albums are few and far between. Releasing as a solo artist with a true triple album would have been almost suicidal were it not for the immense number of high-quality songs George had waiting in the wings. And he didn't waste the opportunity: even today, All Things Must Pass must be one of the most beloved albums by critics and fans alike. And perhaps the least pretentious in history.
Incidentally, I find the critics' perception of this album curious. They generally hold it in very high regard, as one of the best albums ever made, inspired, very complete, and a double album. A double album? But it has three vinyl records!!! Or its equivalent on the double CD reissue… Almost everyone goes out of their way to ignore and dismiss the third disc, called Apple Jam, because it's clearly a studio jam session by George with several of his friends. Ignoring this third part and considering All Things Must Pass a double album seems almost sacrilegious to me. True, Apple Jam is nothing more than Harrison jamming with the rest of his friends backing him up, seemingly without anything written, without a line or direction. But have you ever listened to it in detail? This has to be the most dazzling jam album in history. On the tracks, there's Clapton making his guitar scream like the Guitar Hero he still was, going toe-to-toe with George; we have, along with Eric, the beginnings of the band he would form under the name Derek & The Dominoes (except for Duanne); there's Klaus Voormann on bass, Alan White who would later be the drummer for Yes; the entire Badfinger lineup on rhythm guitars; Billy Preston and Ringo among the old friends; Pete Drake on steel guitar; Gary Brooker and Gary Wright, plus Phil Collins on drums and percussion; Carl Radle, Alan Whitlock, Dave Mason, Bobby Keys on sax , Jim Price on trumpet, and “Mr. Wall of Sound ” Phil Spector mixing all the ingredients in the production. You can't deny it's dazzling. I mean, only Woodstock saw more stars together! Only John and Paul were missing, too busy tearing each other apart. The atmospheres of these jams are colossal, with the instruments intertwining as if they'd been playing together for years. It's true, you can tell it's improvisation, but it's top-notch, with great solos and duels between George and Eric, with dramatic themes and climactic rises and falls . The only flaw is perhaps that some are too long, but if these pieces had been shorter and had some lyrics, those critics would have died in a musical orgasm. As a musician, I understand the delights of improvisation; That's how all works of art are generally born… I love the latest album, and I don't think it detracts in the slightest from considering All Things Must Pass a triple album instead of a double, as critics who've never held an instrument in their lives do. No. A triple; repeat after me: TRI-PLE!
The album is captivating from beginning to end. It's brimming with a profound spirituality and inner peace that truly inspires. It's undoubtedly George's creative peak, as before, with the Beatles, and for about four or five years afterward, his compositions would be more religious than spiritual. Here there are no sermons, just a tremendous joy for life, peace, humility, a great enthusiasm, a contagious exuberance that shines through track by track and contrasts sharply with the more pessimistic solo debuts of John and Paul. Furthermore , it's a simple album in that it's not conceptual, bombastic, or pretentious, yet it possesses a certain majestic air. It doesn't even try to force that aforementioned spirituality on you; it simply inspires or inspires it, and it's impossible not to end up chanting Hare Krishnas at the end of " My Sweet Lord." On the other hand, Harrison sounds magnificent and delivers a subtle jab at his former bandmates, though I'm quite certain that wasn't his intention. Many say that “ All Things Must Pass” and “ Isn't "It A Pity " are reproaches for the breakup of the Fab Four , but the first was written in '69 and the second was from '66, discarded in the Revolver! sessions Furthermore, he displays a vocal melodic mastery here that is at least on par with McCartney's. He uses a huge number of hooks and has magnificent control of his voice, showcasing it and creating formidable melodic lines. On the other hand, he handles a high level of lyricism, simple yet profound, direct, capable of creating transgenerational anthems, at least on par with Lennon! And as a bonus, he throws in a couple of humorous tracks on " It's Johnny's " Birthday " and "I Dig Love" in the purest Ringo style.
Phil Spector was the producer. George would later complain that it was too overproduced and had too much echo for his taste, but what did he expect from Mr. Wall of Sound ? In any case, the production doesn't detract from the album. The heavy echo contributes to that warm, ethereal, and spiritual feeling that serves as the glue that holds the whole album together. There are some colossal walls of sound, like in "Wah-Wah," but they don't sound entirely out of place. And at least he didn't ruin the minimalist songs with orchestral arrangements like "The Long and Winding Road." Somehow, they both managed to complement each other in the production work and leave the album in a good balance. It would be a huge hit, even though it was obviously more expensive than single vinyl records. And it reached number one on the charts for several weeks, eventually achieving six platinum certifications, making it one of the few albums—not even triple platinum, let alone double platinum—in the entire history of rock to achieve that feat. At the time, it overshadowed the albums of his former bandmates, who would never have imagined it.
The album opens with “I'd Have You Anytime”, featuring that incredible guitar work by Clapton, though it also hints at the ex-Beatle 's sharp, minimalist style . Harrison co-wrote the song with his friend Bob Dylan, with magnificent lyrics that make for an inspired love song. The melody is beautiful, intertwined with the guitar's gentle strumming. George begins tentatively, very emotionally, before gaining confidence in the choruses, which build in intensity and feature a bit more guitar, but it's primarily the voice that sets the tone. A subtle, inspired song where everything works together to create an intimate, delicate atmosphere that feels very sincere… Patti Boyd definitely had something that inspired some of the best songs in history, and not necessarily by the same songwriter. A great start!
Then comes the quintessential anthem, “My Sweet Lord”, with its now-familiar acoustic guitar riff and the sharp, piercing slide guitar riff , which must be one of the most recognizable on the planet. From that simple intro, the song grabs you and doesn't let go, beginning with a slow crescendo that culminates in an epic, spiritual celebration. More instruments gradually join the strumming. George begins the verses, sung with devotion and a delightfully raspy tone around the :30 mark, accompanied by a subtle and solemn organ that highlights that spiritual aura. You know he's not faking it when he sings those “I really want to know You , I really want to go with you …”, and for the following verses a gospel choir enters with the first Hallelujahs. Then George keeps repeating the “I really want to see "You " at 1:45, the guitar rises a tone, and with the change, the drums and a tambourine join in. The angelic choirs return with the Hallelujahs and Hare Krishnas , and suddenly we're in that enchanting, dreamlike festival. If masses were this enthusiastic and sincere, I wouldn't miss them every Sunday! At 2:40, the guitar repeats the opening figure, and then comes the extended coda with various mantras, accompanied by Billy Preston's velvety keyboards in the background. It was written in 1969, clearly reflecting George's spirituality, his faith, his religious intensity. It's truly moving, and the song stirs you. You don't end up singing a sing-along because it's catchy. Well, it is, but you end up singing the coda because Harrison manages to convey that devotion with his voice and guitar, and it's truly impossible not to feel it and be immersed in it. I believe that George's death in 2001 was much less traumatic than John's, not only because of the circumstances, But it's not just because we all knew he was at peace with himself, that he saw death as a return, that this was more of a prayer than a song, and that he never performed it without feeling what he was saying. “ My Sweet Lord” is an anthem in every sense of the word, enormous, monumental, at least on par with “Imagine.” It's the greatest legacy George would leave us as a solo artist, and its message transcends the musical realm to deliver something much, much deeper. The controversy surrounding the plagiarism of the Chiffons ' “ He's So Fine” is nonexistent. There's no controversy because George admitted to unconscious plagiarism, but they wanted to extort a fortune from him. In the end, the dispute was settled when George bought the rights to “ He's So Fine.” Yes, the influence is undeniable, but as I said, the final result completely transcended the musical, becoming a much, much greater work. Led Zeppelin would steal more blatantly, with impunity.
We continue with the majestic opening of the album, “Wah-Wah”, where the enormous wall of music sponsored by Spector is most evident. The opening riff is delicious, colossal, and loaded with wah -wah pedal, precisely. It begins with a high-pitched guitar, then Clapton joins in an octave lower to create a mirrored double riff. At :15, a keyboard and a drum roll enter, setting the stage for the rhythm to begin , followed by the bass and who knows how many more guitars. Everything is incredibly echo-laden, and at times it sounds as if they had put 40 or 50 musicians in a cave and recorded like that, in an instrumental ocean. After the choruses, we have bridges with horn sections and mini-solo flourishes , which I'm not sure are Eric's or George's. At 3:05, the more substantial solo begins, with the two guitars intertwining spectacularly, while the bass also plays incredible figures in the background. Then the horns return, the guitar shifts to slide , and almost a minute later George resumes the verses, but this instrumental minute is truly epic and orgasmic. The lyrics are very curious. Remember when, in 1969, during the Let It Be sessions, with cameras rolling for the documentary and everything, George had a fight with Paul and told him he was going to play whatever Paul told him to play and then stormed off? Well, during that week when he “stopped being a Beatle ,” George wrote this song, using “Wah-Wah” to refer to the stardom and fame and diva-ness that had taken hold of Paul (and John) and that had him so fed up and annoyed. “I don’t " I want no wah-wah ." George renounces that life, fame, and power that Beatlemania had given him: "You made me such a big star , Being there at the right time, Cheaper than a dime…” Strong words! Great track, a contender for the best on the album, and not even the tsunami created by Spector can ruin it.
Then we have “Isn't "It A Pity (Version 1)", a beautiful ballad written by George in 1966, but rejected by John for Revolver and the White Album . And to think it could have replaced " Revolution # 9"... It begins with a soft acoustic strum and delicate piano, with George singing the first verses with overwhelming sadness. Then more and more instrumentation is added: tambourines, drums, keyboards, and it sounds like a whole orchestra. The song builds and builds in drama until that climactic and masterful slide solo at 2:20, which tugs at your heartstrings. Although many assumed the lyrics were a dedication to his former bandmates, it's more of a universal lament, about the way we shut ourselves off in our own bubble and hurt others without thinking: "But how do I explain , when not too many People , can see we're all the same , And because of all their tears , your eyes can't hope to see , The beauty that surrounds "...them ..." It's not a reproach to the Beatles, but to the whole world, yet there's still a glimmer of hope in the background, in the colossal coda, which, within that wall of sound, manages to have something warm and comforting. A beautiful, epic song, over 7 minutes long, which would be released as the B-side of " My Sweet Lord" and would round out the spectacular and impeccable A-side of the first disc of All Things Must Pass.
We continue with “What Is Life", another good song, but this time it 's somewhat marred by Spector's bombastic sound, full of brass and a carnival-like feel that I'm not sure suits it entirely. The song opens with a guitar riff with the fuzz cranked up, reminiscent of George's sound during the Rubber Soul era. Then the bass mirrors the guitar line, and by the third beat there's a frenetic guitar solo, and then a tremendous brass section kicks in, perfectly in sync with the drums. The vocal melody is exquisite and catchy, and you could spend weeks singing the beautiful chorus, which Phil makes sound colossal with a full orchestra. The lyrics are perfect, again striking a perfect balance between a love song and a search for inner peace, with a simplicity and naturalness that must have made Paul green with envy when he heard it... That's why I think the production arrangement is too convoluted for what George intended to express. I wasn't going to give it a bad review, but it's truly beautiful, and ultimately, George isn't (entirely) to blame. Spector's blunder. Besides , it must be one of Harrison's four or five most famous songs.
Next up is “If Not For You”, a Bob Dylan cover , which confirms for me that Dylan always sounds better in other voices. Haha. The truth is, it sounds like an original; George makes it his own and sings it with a confidence and mastery that made me think for a long time that it was Bob doing the cover . It's a brilliant, colorful song, perfectly complemented by Hammond organ, slide and steel guitars , and even harmonicas at the end, which is the only Dylan-esque touch they leave. Harrison owns the song and transforms it in his own style into a fresh, sunny collector's item that brings a huge smile to your face. The lyrics, like almost all of Dylan's, are perfect, this time simple, almost humble (that's why it sounds like George's), but poetic and emotionally charged, which the ex-Beatle lends credibility to with the feeling he puts into his singing. A beautiful, absolutely beautiful song. At the Bangladesh concert, in one of the most moving moments, the two artists sang it as a duet. Do you realize that we already have 6 top-level songs, without any complaints?
The almost divine and perfect beginning of the album ends with “Behind That Locked Door" isn't bad ; it's a lovely country-style ballad, but it doesn't quite reach the level of the previous tracks. Even so, it's a welcome respite, with a peaceful, country feel, great wah-wah slide guitar work , and very calm, swaying melodies that create an almost hypnotic state, complemented by the sleepy instrumentation. It's not bad, on the contrary, but it's no longer something to stand out.
Then there's "Let It Down", another stunning gem, where they combine gentle, delicate minimalism and climactic peaks with tremendous, apocalyptic orchestrations. In fact , it starts with a bang, an unusual burst of power with drums that sound like Bonzo Bonham, guitars screeching ferociously (I think it's Clapton), and a roaring horn section, for an unusually powerful combination for the spiritual George. At :25, they drastically lower the intensity, leaving synthesizers and a beautiful piano for Harrison to enter with his delicate voice, delivering verses that seem like crystal. In the choruses, they regain that enormous fury, with all the musicians sounding as if their lives depended on it; even George himself sheds that yogi aura to sound furious as he shouts the song's title. The lyrics Overall , they're magnificent , and this is another one where it's impossible to tell if they're channeling Patti or Vishnu: "While you look so sweetly and divine, I can feel you here, I see your eyes are busy kissing mine, and I do, I do." It's possibly a mix of both, haha. The truth is, it achieves moving verses, with a top-notch poetic level. Another great song, and surprising for that duality of softness and gentleness with an almost brutal power.
“Run of the Mill” is another lovely song, with good melodies. It’s built on an acoustic foundation and that recurring trumpet riff throughout the song. It’s nice, I like it, but it’s very simple; there’s basically no bridge, and all the charm lies in the way George handles the powerful phrasing amidst the waves of trumpets. The lyrics this time are more philosophical and lean towards his Hindu beliefs, but again, without sounding preachy. They simply remind us constantly: “ It’s you "That decides." I like it and it's a good ending to the first album, but it's slightly below the top-tier tracks.
The second album opens with “Beware of Darkness”, another beautiful spiritual track, with profound and captivating lyrics, an exquisite melody, and superb instrumentation. Once again, George and Clapton's guitars intertwine to create majestic atmospheres without sounding pretentious. I don't know how George does it, but he sounds both colossal and humble at the same time. I don't think anyone has ever matched that sound. Around 2:30, we get a short but heartfelt slide guitar solo of the highest caliber. And the lyrics—I maintain that they rival Lennon's best—only, unlike the rage John conveys, here there's a peace, a warning without threat, something diametrically opposed to Mr. Ono 's sharp tongue . A great song.
Then we have "Apple Scruffs", a very simple, lighthearted, and unserious song in which George sings about the "Apple Scruffs," as the fans (not groupies ) who practically camped outside Apple were called, hoping to chat with or take a picture with one of the Beatles. It's very simple, just two chords with minimal variations and a harmonica playing around. It's part of George's sense of humor, the kind he had already demonstrated with some tracks from the White Album , so you can see that he didn't only have a serious and profound side.
Next up is “Ballad of Sir Frankie Crisp (Let It Roll)” another simple song, with a nice melody and some cute piano and keyboards, but not much else. The song is pretty, ethereal, but lacking in resources, and if anything, it's worthwhile for the beautiful combination of those distant guitars and pianos during the intro /bridge. Oh, and the descending scale at the end of the verses. It's very simple, but absolutely beautiful. There's something baroque, something Procolharunian in the sounds… the lyrics are a kind of tribute to Sir Frankie Crisp, who was a lord in the Victorian era and owned Friar Park, the mansion where Harrison was living at the time. Spector tried to convince him that the song was beautiful but the lyrics hindered its commercial potential, but George stood firm and the lyrics remained as he had originally planned them.
Next up is “Awaiting On You All”, a pop ditty, perhaps more in the style of the Chiffons than “ My Sweet Lord.” It’s a light, fun track that shows George channeling his inner Paul with catchy, easygoing melodies , although this time the lyrics are noticeably more forceful in their criticism of the Church, showing no mercy. It’s not bad, but it’s not outstanding either, and the production is terrible. The excessive instrumentation for something so simple and the heavy echo practically bury the vocals. It’s not bad, but it’s perhaps one of the weaker tracks.
With “All Things Must Pass”, he returns to his peak. This is another sublime ballad, one that the Beatles endorsed for the Get Back sessions but never formally recorded. Here is its first studio version, with a grand piano driving the song, velvety keyboards layering in the background, slide guitars making sounds like seagulls, and a horn section that this time works beautifully without overpowering the rest of the instrumentation. The melodies are once again brilliant, and the choruses, above all, are addictive. Everything sounds perfectly balanced, creating a charming atmosphere, like a bright and glorious morning. The lyrics aren't a lament about the breakup, although many of the album's songs seem to be. It's more of a hymn of hope, of not depending on the material and fleeting: “ All things must pass , None of life's " Strings can last ." It sounds more than resigned, comforting , and if it wasn't a reference to the quartet's dissolution, it's clear that his philosophy wouldn't let him get into a depression or a war of words with his former bandmates.
Then we have "I Dig Love", another of Harrison's karmic jokes. It's nothing more than a bit of playful experimentation with four chords, playing ascending and descending scales. He also throws in some wordplay and has a few simple but good slides . I could swear it's Ringo on drums, which sounds great, but I'm not entirely sure. Anyway, it's harmless, and another example of George's sense of humor.
With “The Art of Dying”, I always feel like I'm listening to a Clapton and the Dominoes song . Most likely, the guitar is Eric's, and the backing band is indeed what would later become Slowhand as the Dominoes for his next project. The opening is spectacular, with the guitar full of wah and distortion, followed by the impressive horn section and a colossal bass line. The bass line during the verses is super cool , and George sounds dark and almost menacing this time. The guitar work in general is drool-worthy, with a great riff in the bridge at 1:40 and the false ending at 2:10 to restart the spectacular intro sequence and a fiery solo, which definitely has to be Clapton. The lyrics are equally dark, this time with references to death and reincarnation, with haunting lines like, “As nothing in this life that I've been trying , could equal or surpass the art of dying , Do you Believe me? "Great song, which is a bit of a departure from George's usual style, but a pleasant surprise."
Then there's "Isn't "It A Pity (version 2)", which is slower, more minimalist, and more atmospheric than the original from the first album, although the middle section also includes the orchestral arrangement, complete with a flute solo. It's about 3 minutes shorter than version 1 because it lacks the lengthy coda. It's also lovely, but it doesn't compare to the magnificence of the other.
Next up is “Hear Me Lord”, with another Claptonian atmosphere , which keeps reminding me of their mutual influences, like the song “In The Presence of the Lord.” Preston's piano work is excellent. The lyrics are very spiritual, with a gospel-like coda and the guitar vibrating in the background towards the end. It's good, but it also falls a little short of the standout tracks.
After this song, we move on to the third album, which, as I mentioned, is called "Apple Jam," a play on words combining "improvisation" and "jam." Ha! The songs are top-quality jams , with the different musicians showcasing their skills and creating an impressive wall of sound, layering or staggering with high-level solos.
They kick things off with “Out Of The Blue” and one of the most distorted guitars on the album. This is one of the longest tracks, clocking in at over 11 minutes, but the magical, cosmic, musical journey is truly worthwhile , thanks to the superb work of each member. I even think this track is so good it deserves to be highlighted in red, with its great guitars, keyboards, and sax solos . Just close your eyes and let yourself be swept away by this musical rollercoaster.
Then there's "It's Johnny's Birthday", a slapstick piece based on "Congratulations", features the group emulating a carnival atmosphere, with Spector playing with the tape speeds until they end up singing like the Chipmunks. It lasts less than a minute, so the joke is harmless.
“Plug Me In” is another jam further Rocker- like and chaotic, built on the bass line with the other instruments layered on top. Fun, fast, and fresh. You can feel the musicians having a blast, especially George and Eric, alternating guitar parts at times. Oh, and let's not forget Dave Mason from Traffic —that's three lead guitarists here! And it's just over three minutes long, so it's not too long.
“I Remember Jeep” has a main riff upon which the rest of the instruments are built, including that wild little piano. Preston's boogie . Do you hear that bombastic drumming , with a mastery worthy of an octopus like Ginger Baker? Ah, well, that's because IT IS Ginger Baker. On bass, we have Klaus Voormann trying to play with scales. The guitar doesn't stray too far from its pattern, but it sounds good. Then they start adding stellar sounds worthy of Pink Floyd and the jam session . It's somewhat chaotic, and yes, 8 minutes is excessive, but hearing Baker's eight arms is a delight, even if he's just jamming like crazy.
And we close with “Thanks for the Pepperoni”, which captures a Rockabilly atmosphere, paying homage to the pioneers of 1950s R&R, including an intro reminiscent of “Roll Over Beethoven” and a piano solo that evokes Jerry Lee Lewis at his wildest. Mason rejoins the stellar three-guitar section, and overall the jam is a lot of fun with superb guitar work.
This concludes the original 1970 edition. But if that wasn't enough, the 2001 remastered CD edition has some tracks and alternate versions that didn't make it onto the original triple disc.
“I Live For You”, a beautiful ballad with a touch of country and a formidable guitar solo by Peter Drake. George revisited it for the re-release and worked on it with his son Dhani during 2001, adding new drums, backing vocals, and other details for this final version. Simply beautiful; I don't understand how he felt it clashed with the original album.
“Beware of Darkness” in its “Anthology” version, hahaha. It's the acoustic skeleton of the final version of the album, giving an unplugged feel , like they did with several of the tracks that originated in India and would eventually form the White Album . The intensity and vibe that George can create with just a guitar and voice is incredible. It's not far behind Spector's polished version. In fact, sometimes I like it better.
“Let It Down” also in its acoustic version, with nice arrangements of the second guitar, and which highlights the crescendo part in which George sings the title.
“What Is Life" in an earlier version than the final one, although it's quite similar. This take is instrumental, allowing you to better appreciate the instrumental work. You know you appreciate it when you find yourself singing it instead of Harrison, hahaha .
Finally, and this is definitely why the new edition is worth it, there's "My Sweet Lord (2000)" with a completely new arrangement. He even recorded the vocals entirely in 2000, and you can already hear his voice a bit weakened. The riff is the same, but with more sitar effects and a clearer, purer sound. I like it quite a lot, and this was the version that became a worldwide hit when our George died a few months later. He was a visionary. This was his final legacy, and his voice, from the Nirvana he reached, was definitely a source of comfort to the world that mourned him. I remember my eyes welling up every time the first chords of this version started, but then I'd tell myself, "But this is the last thing he wanted, so I'd better smile and sing along at the top of my lungs with him." This is his legacy, this is the peace he wanted for us.
In short, an incredible triple album, with a great mood , that doesn't drag, except perhaps on "Apple Jam" if you're not used to those improvisations. As he himself said, it was about letting out everything he had bottled up from his Beatles days and proving to himself what he was capable of. And well, it proved that he was another overshadowed genius, but with the same compositional ability as his counterparts. And perhaps vocally he doesn't have the level of John or Paul, but at least here he surpasses them with the emotion in his singing. A sincere, spiritual, or rather philosophical album. It's very profound lyrically, but at the same time humble. It doesn't try to force any belief or religion on us, but rather to make us experience through the music what George experienced with his ideology. And to do it without sounding pretentious is truly very difficult.
The album is beautiful, sincere, easy to listen to, and features a number of high-quality songs that many bands throughout their entire catalogs would never achieve. Without a doubt, it's the best solo album by a Beatle. The only problem, perhaps, is that Harrison set such a high and perfect standard that it was never equaled and ultimately overshadowed by his own subsequent albums. Needless to say : A must-have!
By Corvan
Nov/7/2011
