All Things Must Pass, George Harrison. (Part One)

Rock's first triple disc LP. Personally, I think its the best of its kind. While that may provoke a heady debate, I think it could be agreed on that no other triple disc LP has been so eloquently compiled. It also prevails as the most momentous solo Beatles album released to date. While John Lennon and Paul McCartney occasionally knocked out near-perfect productions, and even Ringo getting a catchy single in once and again, none have rivaled the brilliant eccentricity, genuine passion, and unwavering diversity of All Things Must Pass. Had any of these songs been given the Beatles treatment, they would undoubtedly be standouts in the catalog. Many of these songs had been rejected by the Beatles, dating as far back as 1966. Alas, its the uplifting sounds of George Harrison coming into his own that contributes to this album's splendor. He didn't need the other Beatles, and he wasted no time gathering some of his most talented cohorts, to make for legendary sessions. George Harrison proved that he could sufficiently stand on his own, and the fact that he had never relied on the others to aid him in writing proved to be a blessing. They is an unrestrained flavor throughout all six sides -- complete with throaty vocal performances, lush productions (courtesy of music's premier kook, Mr. Spector), jam sessions, and various instruments popping up randomly in each track, but none sounding out of place. Bobby Whitlock, of Derek and the Dominos, claimed that Harrison was incredibly collaborative and that he "included everyone on everything he did because there was enough for all." Its an album that seems like an obscurity, yet I always seems to stumble upon random people who are equally infatuated. After purchasing the album -- all discs present, perfect condition with the exception of a worn out corner on the cover box -- for a DOLLAR (Oh, the Bay Area. I fucking love you), a girl saw it and said something like, "That George Harrison record is so fucking cool." Then once I was at a party and I was introduced to a guy named George. I said, "I can remember that because George is my favorite Beatle." George replied, "Really? He is my favorite too. His solo records are awesome." More recently, before interviewing Ross Halfin, I chatted with his assistant, Steve (I think his name was), and he told me of how he went along with Ross on the tour of Japan with George Harrison and Eric Clapton. He told me of his adoration for All Things Must Pass, and I graciously bragged about my Bay Area bargain. (Which then branched into a conversation about rummaging for records.) I always thought I was one of few who had unearthed this gem, but apparently even strange men named George at dumb, random parties are into it. But that's marvelous, I love when good music gets the credit it deserves. With an album so massive, and material so rich, some songs take longer to seep in, and it certainly takes multiple listens to fully comprehend the album in its entirety. The remarkable musicianship comes courtesy of all of Derek and the Dominos (sans Duane Allman), Gary Wright (most famous for "Dream Weaver"), Bobby Keyes (laid down classic sax on the best Stones records, and tossed a television out the window with K. Richards), as well as Jim Price (another Stones vet), Ringo, members of Badfinger, Al Aronowitz (introduced the Beatles to Bob Dylan, who introduced the Beatles to pot), Peter Frampton, John Lennon, Dave Mason of Traffic, Gary Brooker of Procol Harum, every one's favorite loon Ginger Baker, Klaus Voormann (friend of the Beatles in Hamburg, artist of Revolver cover, bass player), Alan White (soon to be of Yes), Billy Preston (no intro necessary?), even a young Phil Collin makes an appearance, among many others. The album itself opens with a longing number, co-written with Bob Dylan, "I'd Have You Anytime". I deem All Things Must Pass a stunning record, one of my favorites, because it passes my general "magnificent album" rule: each song is a THRILL. Each a different kind of thrill -- yet all uniquely and unanimously a thrill. With that said, "I'd Have You Anytime" is not at all a bad song, the lead guitar is quite tasteful. Still, it never proved to be a favorite. But it is followed by a string of BRILLIANCE, a string of "What the fuck is wrong with John Lennon and Paul McCartney, why did they push these songs aside?" brilliance. Beginning with "My Sweet Lord", the album's crowned classic. When I was in Buenos Aires, floating about my favorite flea market in the entire world, Hare Krishnas were dancing to this song. Incredible! During a whirlwind summer, in which I felt like an utter outsider, music DID prove to be the universal language. Yes yes yes. While I can't say I necessarily get down with the religious bit, I don't mind it at all. Perhaps it even provided a bit of much-longed-for passion. The celestial chorus and contagious rhythm make for an exciting listening experience, and coupled with that previously mentioned unrestrained passion -- its genuine. More so than any Beatles track George Harrison ever sang. But oh oh oh, it just gets better. "Wah-Wah" is DELICIOUS. I am so grateful that Paul McCartney was such a whiny bitch that George Harrison felt urged to write a song about it! That wall of sound is ever affective. Ugh, just the sweet sounds exploding at every moment. That momentous riff! It is all magical, totally and completely magical. And he is right! He didn't need Paul McCartney. Following the album's arguably best track is the first version of "Isn't It a Pity". You know what IS a pity? I'm just assuming that this is GH longing for his gap-toothed wife (whom Brian Epstein apparently thought of as really dense, which I in turn think of as really entertaining), WHILE SHE WAS SEDUCING ERIC CLAPTON. Cruel! Though if she did inspire such a tune, I'm sure GH would deny it. Didn't he say that "Something" was inspired by Ray Charles? Even so, the entire theme of "Isn't It a Pity" is incredibly uplifting. In short: See the beauty around you, and treat others kindly. When I first became utterly obsessed with this record, I really dug "Isn't It a Pity", but now it isn't quite a favorite. But I am no less infatuated with the sound of this record. The glorious musicians, the ENERGY, and yes, even the echo-laden Phil Spector touch. This record never gets boring (even though disc one doesn't exactly hide its superiority to disc two). If "Isn't It a Pity" failed to move you, then "What Is Life" will literally MOVE you. Get up! Move! Embrace the horns! The ever-present slide! (George was no slouch.) "What Is Life" is just a great song. One of the best off a glorious album. Its catchy, its danceable, its got everything a good song needs. Simple yet explosive, ethereal and perfect. Next, "If Not for You". Sweet, delicate. Bob Dylan, you have a heart. Bobby D penned this one for his then-wife Sara, an obvious fountain of inspiration. This take on "If Not for You" is one of those rare instances in which someone totally identifies with the words another wrote. The jangly guitars dance tenderly around Harrison's delicately affective vocals. This is followed by another love-driven ballad (is there any other kind?), this time penned by Harrison himself. Kind of like Led Zeppelin's "Tangerine" and "That's the Way", "If Not for You" and "Behind That Locked Door" have always been partners in my library. I rarely listen to one without the other. I think if pressed, "Behind That Locked Door" would prevail as the better of the two. I'm a huge fan of steel guitar, when done tastefully. It can bring so much warmth to a song, and it truly does not fail here. "Let It Down", yet another momentous tune, complete with Harrison's inability to say 'hair' -- he pronounces it as 'hurr'. He prevails as an imaginative lyricist; "Let your hair hang around me. Let it down, let it down. Let your love flow and astound me." And it continues, "As you look so sweetly and divine, I can feel you here. I see your eyes are busy kissing mine." I like. The song which closes disc one is "Run of the Mill". Strangely, not a favorite when I first discovered the album, it has since developed a fondness when it comes on random. This fondness mostly stems from the endlessly wise lyrics.

"Everyone has choice, when to and not to raise their voices: it's you that decides; which way you will turn, while feeling that our love's not your concern; it's you that decides.
No one around you, will carry the blame for you
No one around you, will love you to day and throw it all away
tomorrow when you rise
Another day for you to realize me; or send me down again; As the days stand up on end, you've got me wondering how I lost your friendship, but I see it in your eyes.
Though I'm beside you I can't carry the lame for you; I may decide to get out with your blessing, where I'll carry on guessing; How high will you leap? will you make enough for you to reap it? only you'll arrive at your own made end, with no one but yourself to be offender; it's you that decides."
-- As printed on the All Things Must Pass sleeve.