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George Harrison’s massive 1970 triple album is an epic and monumental.
All Things Must Pass was the first triple-disc rock studio album by a single artist, and an ex-Beatle at that.
It would yield the first Number One hit by an ex-Beatle: My Sweet Lord, and now-iconic Harrison songs like What Is Life, Isn’t It a Pity, Wah-Wah and Beware of Darkness.
All Things Must Pass also served as a gateway to the large-scale, “more is more” aesthetic of ’70s classic rock, and the emergence of Harrison from under the giant songwriting shadow of John Lennon and Paul McCartney. He would prove to be one of the most compelling and original voices of the entire rock era.
The first Beatle to venture into solo recordings, Harrison had already released two previous instrumental albums on his own prior to All Things Must Pass – the Wonderwall Music film soundtrack (1968) and Electronic Sound (1969), one of the earliest albums to feature the legendary first iteration of the Moog modular synthesizer.

But George’s mind and heart were once again rooted in guitar-driven rock and roll as he flung wide the doors of EMI’s Abbey Road studio to welcome an all-star conclave of players that included Eric Clapton, Ringo Starr, Klaus Voormann, Billy Preston, sax player Bobby Keys, and country pedal steel ace Pete Drake. Among its other distinctions, All Things Must Pass is one of rock’s great guitar albums.

On a Zoom call from the English countryside, where he’s been marooned by the pandemic, Dhani Harrison, George’s son, has spent the past five years of his life executive-producing the 50th Anniversary Edition of All Things Must Pass. Yet, after all that work, he still has the enthusiasm of a teenage fanboy as he marvels at the disc’s guitar treasures and transcendent songcraft.
“The backing band… it’s Derek and the Dominos, before they ever recorded any-thing on their own. It’s the first thing they ever recorded. They all got together before touring and before recording; they came into the studio to do All Things Must Pass. And that band is so hot. You listen to some of these tracks and you think, ‘God, it’s Derek and the Dominos!’ It’s a hell of a band.”

Poring over the box set’s pristine remix/remastering of All Things Must Pass, Dhani and his co-producer Paul Hicks had ample opportunity to dissect the album’s many standout guitar moments. One of the innovations All Things Must Pass introduced to the triple rock album format was the inclusion of a full vinyl jam disc.
“There were lots of points you’re, like, ‘Is that Clapton? Is that Dad?’” Dhani marvels. “You’re like, ‘Oh, it’s Clapton. Dad would never play that.’ But at that point they were synched up. So it’s Dad kind of playing Eric riffs and Eric playing these George riffs.“

While all this rip-roaring guitar bond-ing was going on in the studio, Harrison was in the process of losing his wife, Patti Boyd, to Clapton. Harrison had, of course, also just lost the band he’d played in since he was 14 – the band that had made him both rich and famous.

And while sessions for All Things Must Pass were underway, his mother died. The album is one of rock’s most poignant evocations of loss and sorrow. Harrison’s personal sense of bereavement at the time was echoed by the world all around him.

“All Things Must Pass is coming from a time in George’s life that is very dualistic,” Dhani notes. “It’s very dark, yet some of it expresses some of the most exalted states of clarity you can have. And somewhere in the middle is that whole experience and that whole record.”

When All Things Must Pass first hit the record shops in the wintery November of 1970, fans found that there was a lot to digest among the 23 tracks that comprised the original release.

Densely produced by George Harrison and infamous studio legend Phil Spector, the songs are awash in Harrison’s unique chordal modulations and spiritual concepts, drawn from Hindu tradition, that were not as familiar to many rock fans back then as they’ve become in our own time, with online meditation apps and yoga studios abounding in every city and town.
The 50th Anniversary reissue of All Things Must Pass is far more massive than the original. Along with the remix/remastering of the original album, created with the latest digital technology, there’s also a cornucopia of outtakes, previously unreleased tracks and lavishly printed liner notes and photos.

An Uber Deluxe Edition comes in a wooden box packed with bonus items like a string of Rudraksha meditation beads and a bookmark made from a tree on Harrison’s Friar Park estate in England. There are also Deluxe and Limited editions offering the music on both vinyl and CD.

The abundance of material on All Things Must Pass is directly attributable to the large backlog of songs Harrison had amassed during his tenure with the Beatles.

“Dad had obviously built up so many songs after the Beatles,” Dhani says. “They didn’t get their day in court, you know? So he went big. Paul and John had already had their big arrangements with things like A Day in the Life, I Am the Walrus and Penny Lane. I think Dad wanted that kind of treatment and attention for his own songs.”
As the Beatles imploded, Harrison had taken to spending time with his friend Bob Dylan in upstate New York, where Dylan was working with members of the Band to craft his own post-’60s musical identity.

Coming from the tense, increasingly hostile atmosphere of Beatles sessions, Harrison was struck by the easygoing, ego-free camaraderie between Dylan and his fellow musicians.

All Things Must Pass would start off with a song, I’d Have You Anytime, that Harrison co-wrote with Dylan, and would also include a cover of Dylan’s own If Not for You. In working with the many great musicians who helped realize All Things Must Pass, George wanted to create the same kind of friendly, open-hearted spirit of collaboration that he’d observed in Dylan’s work with the Band.
At the same time, though, he was work-ing with Phil Spector, who was noted for his epic productions – the “little teenage symphonies” that had revolutionized mid-’60s pop music via hits by the Ronettes, Crystals, Righteous Brothers and others.

In this context, All Things Must Pass can be characterized as “The Basement Tapes meet Spector’s Wall of Sound.” As the sessions unfolded, it was often Spector who kept calling for another guitarist, another piano player… which expanded the album’s “Who’s Who” of top ’60s and ’70s musicians to include guitarist Dave Mason (Traffic), keyboardists Gary Brooker (Procol Harum) and Gary Wright (Spooky Tooth) as well as Peter Frampton, members of Badfinger and more.

All of this was being assembled on eight-track tape, which was the prevailing multitrack technology at the time. In some instances, the eight tracks were mixed down to two tracks of a second eight-track reel, with overdubs added on the remain-ing six tracks.

And in a few other cases, the project moved from Abbey Road over to another legendary London studio, Olympic, which had recently taken delivery on one of the first 16-track machines. Spector’s production approach involved combining multiple instruments on a single tape track – which made remixing All Things Must Pass somewhat problematic.
“So many people have told us, ‘You gotta de-Spector the album,’ Dhani says. “I’ve been hearing that for the last 20 years – every time we do a reissue. But you can’t de-Spector it. The way it’s recorded, everything fits in its own place, with different instruments taking up different bandwidths.

“So if you want to, say, increase the volume on the piano, you’re not really using the volume knob. You’re more just using the frequencies to bring out an instrument more. That’s where you really see what Phil was doing. It takes a lot of understanding.”

Spector had been a bone of contention in the long painful process by which the Beatles unraveled. He had been brought in to do additional production and mixing on Let It Be by Allen Klein, the manager that Lennon, Harrison and Starr had chosen to represent the Beatles over the objections of Paul McCartney, who wanted to place the quartet’s business affairs in the hands of Eastman & Eastman, the firm run by his father-in-law and brother-in-law.

McCartney hated Spector’s work on Let It Be and, years later, would release his own “de-Spectored” version, Let It Be… Naked. But both Lennon and Harrison were pro-Spector and elected to work with him on their debut albums. Although Dhani Harrison suggests that his father might have gotten the short end of the stick.
“The stuff Spector did with John [on the Plastic Ono Band album] was fantastic. And I think when he did All Things Must Pass, he might have been a little bit more, as they say, off his head than when he was doing some of the other stuff. I know my dad had a very hard time working with Phil.

“He had a bad drug problem and he was, you know, a nutter. But, saying that, my dad was the guiding force. He was the one going and waking Phil up and saying, ‘Please,’ you know? He didn’t have to do a lot of the things he was doing to keep Phil up, like bringing him coffee and checking to see if he was still alive.

“Usually the producer has to do things like that for the artist. So I think working with Spector was a little trying. Dad didn’t go back into the studio for a long time after that. Let’s just say that.”

While Harrison was most likely not as dissatisfied with Spector’s work as McCartney had been, he was intent on remixing All Things Must Pass during the final years of his life. Along with Paul Hicks and mastering engineer Alex Wharton, Dhani worked with his father on the 2000 remix/reissue of All Things Must Pass. He sees the 50th Anniversary remixes and remastering as a continuation of that process.
“Paul Hicks and my dad were very good friends. And Alex Wharton was a very good friend. He knew what we wanted from this. He knew where we had too much reverb, and he knew my dad hated having too much reverb on his vocals. He used to sit there with him every single day. He mastered all of my dad’s catalog.”
Dhani says that advances in digital audio editing technology in the two decades since 2000 made it possible to dig into those tracks containing multiple instruments and achieve a greater degree of isolation and separation of individual instruments. He regards the box set’s remixes and remasterings as a marked improvement.

“We played it to my mum and she cried. Paul Hicks played it to me and I cried. It was the opening track, I’d Have You Anytime. You could hear the fragility in the voice. It’s like a tarp has been lifted off the voice. It sounds so vulnerable, and yet so wonderful. I A/B-ed with the original a million times. The new mix has something that the original didn’t. I felt if a mix could move me like that, it’s definitely going in the right direction.”

The process was filled with revelations – such as the extent to which Harrison employed his Moog modular synthesizer on All Things Must Pass. He owned the first Moog in England, and one of the earliest units Moog ever produced. It had played a role on the Beatles’ Abbey Road and Harrison’s Electronic Sound album. But Dhani and his colleagues discovered the instrument is all over All Things Must Pass as well.

“You can’t really hear it in the full mix. But once you’ve heard some of the tracks soloed, you go, like, ‘Wow, that’s a big dirty Moog bassline in the middle of Isn’t It a Pity! And this is why Phil is Phil. You can’t hear the Moog until you’ve heard it once. Then you can never unhear it.

“Once you’ve discovered this stuff, it’s like archeology. You can’t bury it back up. It has to change your perspective on things. And it only makes things better. At no point were we like, ‘Oh, I don’t like hearing all that stuff.’ It’s this big doubling act. It’s mad, and it’s way more electro than you’d think. You’d never guess that that those instruments were in that song.”

At the other end of the spectrum, the inclusion of a country pedal steel stalwart like Pete Drake demonstrates the eclectic expansiveness of Harrison’s musical vision. “I like to think of All Things Must Pass as the best country record of all time,” Dhani says. “That great Pete Drake pedal steel on Behind That Locked Door,’ the song my dad wrote about Dylan…. There’s a country hit if ever I’d heard one.”

The massive scope of the original album project and the stylistic breadth of the material Harrison stockpiled come across clearly in the box set’s generous selection of bonus tracks. George spent a day in the studio running down songs for Spector with just an acoustic guitar and vocal. These recordings offer an intimate glimpse of Harrison at his most Dylanesque.
There was also a day of full-band studio rehearsals, exploring options and locking arrangements into place. There’s quite a range of material there, from spiritual songs like Om Hari Om and Mother Divine to the country-flavored Going Down to Golder’s Green, which calls to mind the Chet Atkins-obsessed George Harrison of the early Beatles recordings.

“There’s a version of Run of the Mill that sounds like Jessica by the Allman Brothers,” Dhani adds. “It’s got all these great guitar harmonies. The bonus tracks are where people are going to go, ‘Oh, this is what we would call de-Spectored.’”
Dhani and his crew worked their way through hundreds of tape reels to curate a selection of tracks that provides intriguing insights into the evolution of All Things Must Pass without becoming tedious. There’s a “party disc” of studio banter, for example.

“When we’re making boxsets, I’m very conscious of ‘I don’t want to hear 20 versions of All Things Must Pass in a row,’” Dhani says. “Like some of those Beach Boys box sets. I don’t want to hear 50 versions of God Only Knows. It’s better to have three versions. We’ve got more material. I mean I’ve got cassettes. And we decided not to put the cassette stuff up against the masters on this record, like some people do.

“At some point, years from now, there might be our version of the bootleg series. But we want to make sure everything is high quality. My dad was always very conscious of scraping the bottom of the barrel, you know. He’d say, ‘Well, if you make my new album you’ll have to call it Scraping the Barrel.’ It’s a real thing. People do scrape the barrel too much. We’re very conscious of not doing that. Everything released since my father has passed away has been of the highest quality. There are no throwaway things.”
A gifted songwriter, musician and film composer in his own right, Dhani Harrison certainly doesn’t need to repackage Harrison Senior’s old records to get by. In fact, he’s put a lot of his own creative work on hold in pursuit of what he sees as a mission to uphold his father’s legacy.

“When my father passed, he didn’t have a record deal or any records in the stores. He didn’t care. I said, ‘Dad, you know you really should get your record in stores. A.) How are you going to make any money? And B.) People should hear your music. People want to hear your music. You shouldn’t just leave the world hanging with no record.’ He was like, ‘Well, I suppose so….’

“And so I’ve taken that on as my job, from when he passed away. OK, let’s get everything back on the shelves, in perfect order. Obsessive compulsive. In the same-sized boxes, with the lyrics and the photographs. Then maybe in 20 years time I can go on being me, and carry on with my life. But it’s gonna take me 20 years! We’ll do a 50th anniversary for The Concert for Bangladesh as well. We’re looking into that. Everything’s been put back two years because of the pandemic, but we’ll get it done.”

“I wish my dad could hear this,” Dhani says. “He would have been so psyched. It sounds timeless, but it also sounds like it could have been recorded yesterday.”


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Fender Musical Instruments Corporation (FMIC) today released the Dhani Harrison Ukulele, marking the artist’s first collaboration with the iconic musical instrument brand. Designed for live performance, the Dhani Harrison Ukulele is built with eye-catching aesthetics from custom inlay work and unique stained finishes, to Fender® electronics with a tone knob allowing players to EQ their sound.

“We’re thrilled to launch the Dhani Harrison Signature Ukulele, the latest addition to our expanding line of Fender® ukuleles,” said Billy Martinez, Vice President Category Manager – Acoustic and Squier Divisions. “Dhani is a world-leading talent and we are seeing more demand for ukulele instruments than ever – so this collaboration made total sense to us. Dhani worked hand-in-hand with us to create his ideal ukulele, incorporating design elements that are deeply personal to him, which we hope will encourage people all over the world to express their own individuality and creativity.”

“The ukulele was created to bring the player and listeners joy, and that’s one thing about it I love, when you play it, you’ll realize it’s a higher quality of ukulele than the majority of ukuleles you’ve probably played that are not custom Hawaiian ones. You might notice the accent is better. The tone is nice, you’ve got an EQ, and you’ve got good tuners. It’s an experience” Dhani said.

As he grew more versatile on the instrument, Harrison wielded the ukulele as his entrance into songwriting. Influenced musically by Gabby Pahinui, Bennie Nawahi, and George Formby, the artist is adamant about the unique nature of the instrument as a tool in the creative process.

The ukulele welcomes “the percussive nature of the right hand and certain rhythms that you get.” Harrison clarifies, “There are rhythms that exist in your rhythm, but no one’s playing those particular beats.”

“Having an instrument that’s easy to play encourages you to play it more, and it’s more inviting, and therefore you get more time on it. And therefore, you can get better, which brings you more joy.”

“I knew that if I did a Fender® signature model, it would have to be a ukulele,” said Dhani Harrison. “I’ve always played it and I write a lot of stuff on a uke. I spent a lot of time in Hawaii growing up and it was there that I really fell in love with the uke as a serious instrument. I designed it to be my ideal stage ukulele that also sounds great when you’re not plugged in. The design is very much inspired by my passions and quest to build the ultimate ukulele. I wanted to do a blue finish and I wanted a light and a dark – kind of like a blue sky day and a space black night. The blue sapphire stain finish is my nighttime mode, and the turquoise stain is my daytime mode. I hope this new Signature Series helps inspire others on their own musical journey.”

The Dhani Harrison Ukulele is available in two different finishes, each with its own unique fretboard inlays and engraved designs on the back of the instrument. Designed for live performance, the tenor-sized ukulele features a solid ovangkol wood top, with ovangkol back and sides, providing a warm sound – as well as a ¾ depth, upgraded Fender® electronics, distinctive build and eye-catching aesthetics. With a choice of daytime and nighttime finishes, the stains were developed to maintain the visual grain of the wood. Extremely lightweight yet durable, the Dhani Harrison Ukulele is built to stand the test of time.



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George Harrison’s Material World Foundation has donated $500,000 to COVID-19 relief. The foundation — started by the late Beatle in 1973 with the release of the LP Living in the Material World — donated the funds to MusiCare’s COVID-19 Foundation, Save the Children, and Medecins Sans Frontieres (Doctors Without Borders).

In addition, the foundation launched “The Inner Light Challenge,” in which users across the globe share a line, verse, or chorus from the Beatles’ 1968 B side — featured in a new lyric-video below. One dollar will be donated to pandemic relief for every person who posts the clip with the hashtag #innerlight2020, with a maximum of $100,000.

Harrison’s son, Dhani, covers “The Inner Light” in the clip above. “Without going out of my door/I can know all things on earth,” he sings, ringing a Tibetan singing bowl while sitting on a couch. “Without looking out of my window/I could know the ways of heaven.”

“These lyrics sung by George are a positive reminder to all of us who are isolating, in quarantine, or respecting the request to shelter in place,” Harrison’s widow, Olivia, said in a statement. “Let’s get and stay connected at this difficult time. There are things we can do to help, and we invite you to share your Inner Light.”

Dhani recently revived his father’s record label, Dark Horse Records, and has plans for previously unreleased material to see the light of day. “It’s the family business, as they say,” “It’s funny — if you’re a plumber and want to be in the family plumbing business, no one would think anything about that. That would be normal. But in our family, the family business is music, so I’m just doing what mum and dad did. No one is making us do it. We have to do it.”


Ringo and Paul on initiative #innerlight2020…
“I am sending Peace and Love to everyone and hope you are staying healthy and safe. I want to thank and support Dhani and Olivia for this great campaign to help to fight Covid 19. Peace and love,” Ringo

“When we find ourselves in times of trouble… Happy to support Dhani and Olivia with this very worthwhile cause. Great song, wonderful initiative #innerlight2020” – Paul


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Photo (Josh Giroux): L to R: Michael Kachko, SVP, Catalog Recordings, BMG US; Hartwig Masuch, BMG CEO; Dhani Harrison; Thomas Scherer, EVP, Repertoire & Marketing, BMG Los Angeles; David Zonshine; John Loeffler, EVP Repertoire & Marketing, BMG New York; Marian Wolf, VP, Global Writer Services & China, BMG

BMG has formed a new multi-faceted global partnership with Dark Horse Records, the George Harrison-founded label now led by Harrison’s son Dhani Harrison and manager David Zonshine, it was announced Wednesday (Jan. 22).

The deal will include releases from the catalogs of Dark Horse Records, Harrison’s Indian label imprint HariSongs and The Clash frontman Joe Strummer’s solo output, including his work alongside The Mescaleros. Dark Horse will also release entirely new recordings through BMG including the Tom Petty estate charity single “For Real – For Tom” featuring Jakob Dylan, Dhani Harrison, Amos Lee, Lukas Nelson, Micah Nelson, and Willie Nelson.

Available on digital platforms, the first slate of releases under the deal will include the George Harrison-produced Chants of India by Ravi Shankar; the live album Ravi Shankar & Ali Akbar Khan In Concert 1972; Joe Strummer & The Mescaleros’ albums Rock Art and The X-Ray Style, Global A Go-Go, and Streetcore; and Attitudes’ Ain’t Love Enough: The Best of the Attitudes. Future releases in 2020 will include compilations, live albums, and box sets featuring rare and unreleased recordings from the Dark Horse label, many of which will be available digitally for the first time.

“It is with great pleasure and excitement that I can finally announce a new chapter for Dark Horse Records in the music industry alongside our friends at BMG,” said Dhani Harrison in a statement. “The label started by my father in 1974 has been a family business my whole life (and is indeed even the reason that my parents met.) From the Indian classical Ragas of Ravi Shankar to the Rock and Roll of ‘Attitudes’ I look forward to reintroducing, to a new audience, all of those artists that my father loved so much. We will also be expanding the Dark Horse family with new artists and classic catalogues in the coming years to include a rich and varied roster of incredible musicians whom we love.”

“BMG is the perfect home for us to expand, explore and create new opportunities for iconic artists across all platforms,” said Zonshine, who added that the company will be looking to develop film and book projects under the deal.

BMG’s roster also includes catalogs by The Kinks, Nick Cave and the solo works of Keith Richards and John Fogerty. It also publishes the catalogs of the Buddy Holly, Johnny Cash, Jim Croce and Willie Dixon.

“Dhani and David have long been close with BMG,” added BMG CEO Hartwig Masuch. “We are delighted to formalize our partnership with the two and begin our new venture as their trusted label home. We look forward to working closer together as we develop new catalog and publishing initiatives.”

Founded by George Harrison in 1974, Dark Horse Records was established to house both Harrison’s solo work and that of other artists. The label’s roster additionally includes the two-man vocal group Splinter, R&B group The Stairsteps, singer Keni Burke and late Wings guitarist Henry McCullough. HariSongs was launched by the George Harrison Estate in April 2018 to celebrate the kind of Indian classical music Harrison loved.



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This Friday, the new 3-part documentary ‘Inside Bill’s Brain: Decoding Bill Gates’ premieres on Netflix scored by Paul Hicks and Dhani Harrison.

Dhani Harrison & Paul Hicks (Learning to Drive, Beautiful Creatures, The Divide, Matangi/Maya/M.I.A., Outsiders) are the composers of the new Netflix docu-series Inside Bill’s Brain: Decoding Bill Gates. The show is directed by Davis Guggenheim (An Inconvenient Truth, Waiting for Superman) and tells Bill Gates’ life story, in-depth and unfiltered, as he pursues unique solutions to some of the world’s most complex problems. The 3-parter draws on interviews with Bill and Melinda Gates in add ole Stott. Inside Bill’s Brain: Decoding Bill Gates will premiere on September 20, 2019 exclusively on Netflix.

Trailer.. Here.


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Dhani Harrison has known Jeff Lynne his entire life. But this summer is his first time touring with the Electric Light Orchestra. “I’ve played with him live, but I’ve never played with him in his band,” Harrison says. “I played with Jeff and Tom [Petty] a lot — things like the Rock and Roll Hall of Fame the night they did dad’s induction. But their band is fantastic, this version of ELO.” Dhani  has been opening for the band since June, playing his solo music to packed arenas across the country. “It’s been standing ovations,” he says excitedly. “My walk off music every night is the intro to ‘Rockaria!‘ I get this beautiful, operatic way of leaving the stage. It’s very funny.”

He’s been playing his new single, “Motorways (Erase It)” to the crowd every night. A psychedelic track with a robust beat, the song was inspired by Harrison’s drives into London from his home in the countryside. “It’s become almost inaccessible to me,” he says. “It took me three hours to get in and three hours to get out, when it should take 20 minutes. Years and years ago on the way in to London, Banksy had just written on the side of the motorway in big white letters, ‘It’s not a race.’ I was using it as an example of how the future is going to be.”

The opening line to the track, “All those dreams they take from you when you’re young,” comes from Harrison’s perception of childhood. “I guess everyone is pretty perfect when they’re young,” he speculates. “All of our imaginations are still in tact, we haven’t been programmed yet. A lot of that is taken away from us by the time we’ve been through school and by the time we’ve got a job. I think we all spend the rest of our lives trying to return to that, that sense of curiosity and childlike innocence and dreams and imagination. It’s only with that that we can get to the next level as beings.” With the help of Big Black Delta’s Jonathan Bates, “Motorways (Erase It)” was recorded in a single day. The single will be included on Harrison’s sophomore album, a follow-up to his 2017 debut In Parallel. The new record will be released as soon as Harrison is done completing it — if he can ever take time off his rigorous schedule from performing and scoring music.

Harrison is so busy he hasn’t even seen the movie Yesterday. “I deal with all of the approving of the tracks and things, and I really like the idea of the story,” he admits. “I just haven’t seen the film yet. I only just got to see Avengers: Endgame the other day, and I’m the biggest Marvel fan ever. I’m a bit behind … I’m sure I’ll see it once it comes onto the airplane or hotel screen.”
The song Here or here: