Talk:All Things Must Pass/Archive 1

Isn't it a Pity
This song deserves an article more than "All Things Must Pass (song)" and possibly "What is Life." —Preceding unsigned comment added by WalterJid (talk • contribs) 02:32, 25 April 2008 (UTC)
 * Why don't you go ahead and write one, and then link to it from this article. ☺    Spiby    ☻  13:21, 25 April 2008 (UTC)

Whos plays on the song "I Dig Love"? And did George write it on the Beatles peried? —Preceding unsigned comment added by 79.180.125.124 (talk) 14:19, 23 October 2008 (UTC)

Olivia Newton-John covers
Corrected this. Here's a reference, FWIW: www.onlyolivia.com/aboutonj/chart.html. cheers, Jim Butler 20:48, 12 May 2006 (UTC)

Plagiarism
I cannot find the source for this anymore, but I am certain John Lennon claimed he warned Harrison about the similarity of "My Sweet Lord" vs. "He's So Fine" before the recording was released. And claimed George was indifferent to his warning. Anyone know this source? It might be a good inclusion for this article.ZincOrbie 20:02, 30 September 2006 (UTC)

Fair use rationale for Image:AllThingsBWCover.jpg
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Origin of Phrase
Looking up the origin of the phrase `all things must pass` on the net I found that Gospel of Matthew 24:6 has `all these things must pass...` Is there a closer parallel??Andycjp 15:08, 12 June 2007 (UTC)

sales data incorrect
The opening section states that "All Things Must Pass" is the best selling solo Beatle album. The reference links to RIAA - but their list is clearly not right, and doesn't mean this. For instance "Thriller" isn't in the top 100! This needs more investigation, and I'm sure "All Things Must Pass" did not out-sell "Band On The Run". MegdalePlace 22:53, 4 August 2007 (UTC)


 * As I understand it - and I could be wrong - the sales figures for All Things Must Pass are slightly misleading, in that it was the RIAA's practice at the time to credit each individual disc as one record sale. Thus each copy of All Things Must Pass counted as three sales, because it had three discs, which means that it should really only be two-times platinum NB I am dragging this out of my memory, and I can't find a good reference. Instinctively I would expect All Things to have sold in relatively modest numbers simply because it was pricey. Still, as I write these words, the RIAA's top 100 list has Thriller at number two, All Things Must Pass half-way down the third page, and the other Beatles nowhere. Wikipedia says that Band on the Run went triple platinum, which isn't enough to be in the top one hundred. I imagine that Paul McCartney is not pleased that his most criticially-acclaimed semi-solo project sold fewer copies than e.g. Poison's Open Up and Say...Ahh!, but that's life. -Ashley Pomeroy (talk) 17:31, 1 September 2008 (UTC)


 * I was thinking of Bruce Springsteen's Live/1975–85, about which Wikipedia itself says "Live/1975–85 is the second-best-selling live album in U.S. history, certified by the RIAA for 13 times platinum, trailing only Garth Brooks' Double Live. This figure reflects the RIAA accounting practice of counting each record in a multi-record set as a separate unit sold; the actual physical number of copies sold is instead slightly over 4 million." This could of course be nonsense - Wikipedia isn't a great source - but it at least sounds plausible. -Ashley Pomeroy (talk) 18:53, 1 September 2008 (UTC)

Number One?
On July 29, 2006, The Official UK Charts company changed their records because there was a postal strike when the album had originally been on the charts. At the time, record retailers would send in documents saying how many records had been sold, but because of the strike they could not during an eight-week period in 1971. All Things Must Pass, which had originally peaked at number 4 (with Simon & Garfunkel's Bridge over Troubled Water at number one), now has been given the number one spot for all eight weeks.[14] Is this true about it being made No.1 for 8 weeks officially? How accurate is it? Where are these sales figures coming from after all these years? This has big repurcussions since "Bridge Over Troubled Waters" is the biggest selling UK album. Plus, how come the singles sales figures from these weeks were able to get through?--Tuzapicabit (talk) 00:59, 14 August 2008 (UTC)

Just had a look and sure enough, there are now new charts for all those weeks with George Harrison No.1, but it's ridiculous - when the chart originally restarted - Harrison was No.18. So this is saying that it spent 8 weeks at No.1 and then dropped to No.18. http://www.chartstats.com/albuminfo.php?id=2751. This cannot possibly be accurate - who authorised these new charts? Whoever it was was obviously a George Harrison fan - this is a chart impossiblility.--Tuzapicabit (talk) 23:51, 27 February 2010 (UTC)
 * I requested JD554 to look this up in the most reliable source for UK chart positions: The Virgin Book of British Hit Singles. – Ib Leo (talk) 06:29, 28 February 2010 (UTC)
 * I've had a look in the The Virgin Book of British Hit Albums (p.133) and the album is indeed down as having been at number 1 for 8 weeks and being on the charts for a total of 23 weeks. --JD554 (talk) 19:07, 28 February 2010 (UTC)
 * Also confirmed on The OCC's website. --JD554 (talk) 19:27, 28 February 2010 (UTC)

. I have indicated the Virgin books as source for the UK chart positions. Thanks. – Ib Leo (talk) 05:46, 16 March 2010 (UTC)

Isn't it a Pity / Hey Jude
In the Cover Versions section I propose removing reference to the Hey Jude ending (da da da dadadada...) being used on Concert for George since the version 1 on the All Things Must Pass album already has this incorporated into the song. This is nothing special about the CFG version. Or am I wrong? I'll do the edit in a couple of days if no one protests. It should also be mentioned somewhere else (possibly in the track listing) that the Hey Jude ending is used in the ending of Isn't it a Pity version 1. Tengilorg (talk) 23:15, 1 February 2009 (UTC)

who plays on which tracks?
i would like to know who played lead and rythm on which track, i mean after all we have here george harrison and eric clapton on one album. —Preceding unsigned comment added by 213.196.226.119 (talk) 12:15, 9 July 2009 (UTC)

Album Art
The phrase "Besides the colourfully re-imagined cover art," is humorous. The new album art looks like it was colored via Colorforms. There should be some mention of the horrific quality of the coloring. —Preceding unsigned comment added by 76.28.14.235 (talk) 01:42, 17 July 2009 (UTC)

Art of Dying
As far I know it does NOT feature Collins. Hee took part in rehearsals, thinking it was the recording, but when it finallay was recorded, his performance was so poor it wasn't used on the album. At least that's what I read in an Biography of PC. Anyone who can confirm that? --Münzberg (talk) 16:25, 1 December 2009 (UTC)

No. 1 - What actually happened
At the time of the 1971 postal strike the British Market Research Bureau compiled the charts and the strike made things rather difficult for them. They got their data by sending "messengers" around the country to call at a (presumably much reduced) sample of record shops to gather sales data in person, hoping to knock something together that looked vaguely like a chart.

In the case of the singles chart, they were able to produce a Top 40 (as opposed to the usual Top 50), as anything below that was far too shaky and hit-and-miss to be considered reliable. It was however followed by a "Breakers" list, of records - chiefly new releases - that might have figured in a longer listing if one were available. But this list in itself consisted of up to 30 titles, further evidence of the chaos prevailing at that time.

In the case of the album chart, it was apparently not possible to put together anything reliable at all. There is some evidence that they attempted to use sales data only from the HMV shop in Oxford Street: whatever that one outlet sold, that was the chart! That idea fell through because sales at HMV Oxford Street were not representative of sales patterns across the country as a whole.

As a result, the British Market Research Bureau just gave up on the idea of producing an album chart during the strike, which meant that for the 8 weeks that it lasted, they simply took the last chart compiled before the strike began and repeated it week after week throughout the duration, weeks in which All Things Must Pass was stuck at No.4.

However, crucially, Melody Maker was still able to compile its own chart (quite how they managed it, and how reliable the result, we don't know), and it was this which put All Things Must Pass at No.1 for those 8 weeks. Unfortunately, official chart statistics couldn't use Melody Maker's listings because they were contracturally obliged to use only British Market Research Bureau data.

However, in 1983 Gallup took over compiling the charts and in 2000 Melody Maker ceased to exist (it merged with NME). This removed any barriers to adopting Melody Maker's data from those 8 weeks in 1971 and so in 2006 the change was made, giving Harrison his 8 weeks at the top, at the expense of Simon & Garfunkels's Bridge Over Troubled Water which now had 8 weeks fewer at No.1, but since it was still on 33 of them they shouldn't have any complaints!

Harrison's fall from No.1 to No.18 simply marks the point at the end of the strike when statistics shift back to the British Market Research Bureau listing. The implausible-looking size of the drop is partly due to the fact that the Melody Maker chart was often accused of being biased towards rock artists (as was the NME Chart) at the expense of pop/MOR/easy listening, and so rock albums tended to be listed higher. This could have had something to do with the precise nature of their shop sample.

I hope this clears up a few mysteries for everyone. Tonythepixel (talk) 00:09, 27 June 2010 (UTC)

Thanks for the info. This had really confused me. I still say it's ridiculous that Harrison's album goes from 1 to 18 (and that it apparently remained at #1 for all those eight weeks). I've also noticed that in the 'real' charts a lot of album re-enter, including many by MOR artists (Nana Mouskouri etc) which seems to back up your claims of bias towards rock artists. Anyway, thanks for that. --Tuzapicabit (talk) 17:21, 18 August 2010 (UTC)

Track List Query
My copy of this CD has tracks 10-14 the other way round disc-wise, i.e. the "Original Jam" (It's Johnny's Birthday - Out Of The Blue) is on Disc 1 & the "Additional Tracks" (I Live For You - My Sweet Lord 2000) are on Disc 2. Gwladys24 (talk) 00:25, 8 May 2011 (UTC)

Page protection
I've protected The Wrong Version of the article for a week to prevent further edit warring. I hope that editors can discuss the Rolling Stone 500 Greatest Albums while the article is protected. If consensus is reached before the week is up, I'll unprotect the article. — Malik Shabazz Talk/Stalk 05:29, 25 October 2011 (UTC)
 * Here's some background: after initial uncertainty here as to the suitability of the passage in question, the matter was discussed at WT:ALBUM and consensus reached that such list entries should be noted only with associated discussion (and the guideline was updated accordingly). Now it seems that some editors (who were involved in the discussion) don't hear the result and continue to edit in reference to an unspecified, previous consensus. Uniplex (talk) 06:15, 25 October 2011 (UTC)

ATMP for GA? Suggested changes
George Harrison's albums from Concert for Bangladesh through to Extra Texture are all now up to GA status, "Isn't It a Pity" also ... I've been meaning to work on this one for months, and I feel there's a fair amount to do − plenty of points of notability are missing, in my opinion. I haven't been able to find the relevant edit-war discussion referred to above (after a minimum effort on my part, I confess), but I thought it best to run through some of the changes I'm proposing, up front, in the hope of taking the article up to a GA.

As far as missing details go, I'm thinking more is needed in the Background section on Harrison's standing within The Bealtes, and his musical activities outside the band during 1969 particularly. Simon Leng describes that year as "an incredible phase of creativity" for Harrison − he produces albums for Jackie Lomax, Billy Preston and Doris Troy, a surprise hit single for Radha Krishna Temple; guests on sessions for Jack Bruce; spends more time with Dylan and The Band, on the Isle of Wight; co-writes Cream's last single; tours with Delaney & Bonnie. All these projects, and everything, in fact, from Harrison's time in Woodstock/Bearsville in late '68, feed directly into what would finally appear as All Things Must Pass − there's an excellent Mojo article by John Harris that explores this idea. An interview Harrison gives to US radio in May 1970 offers plenty also, with George talking about doing his own LP in the wake of The Beatles' split.

In the Production section, mention of his mother's death and its impact on the sessions is needed, I suggest; recording is interrupted in early July as she's nearing the end, which is partly why the album came out so late in the year. Phil Spector's role is also glossed over right now, compared with what participants (such as Voormann, Barham and Badfinger's Joey Molland) and Harrison biographers have to say. Harrison was quite candid about having to do "more work than if he hadn't been there" on ATMP, because of Spector's drinking and eventual hospitalisation, and it seems Harrison continued through August as sole producer. Discussion of the early mixes is needed as well, I suggest, and the feedback from Spector (then recovering in LA) on Harrison's work so far. All this is covered at length in Madinger & Easter's Eight Arms to Hold You and Spector's comments are reproduced on The Beatles Bible. In Scorsese's George Harrison: Living in the Material World doc, and in the accompanying book by Olivia Harrison, Spector has much to say about George's meticulous approach to overdubbing his backing vocals and slide guitar parts.

Other points that I suggest merit either a mention or further comment:


 * Clapton's growing infatuation with Pattie Boyd, behind the scenes (plenty in Boyd and Chris O'Dell memoirs)
 * Barham's orchestrations being planned out up-front at newly purchased Friar Park
 * innovative design by Tom Wilkes and Barry Feinstein, for what was the first boxed album in rock/pop history
 * changes made to packaging for 2001 reissue (which will mean the alternative cover can come back in)
 * more detailed musician credits, rather than simply repeating list on 2001 booklet − given recent research by Leng and others.

Apple Jam songwriting credits
The last, but fairly major, issue concerns songwriting credits on Apple Jam. I'd welcome input and discussion on this. Currently in the article, we have multi-composer credits for sides five and six of the original release of ATMP, which I believe is incorrect; in fact, I question whether, aside from "It's Johnny's Birthday" (= "Congratulations"), anyone but George Harrison is credited as writer/composer even post 2001.

Starting at the beginning, 1970, I've come across a mention in Alan Smith's NME review of the album which doesn't answer the question by any means, but rules out Mal Evans and Eddie Klein as co-writers on "It's Johnny's Birthday": "The final record of the three is a jam session for George and friends − mainly a continuing riff worked upon, and going on and on; or the fun of a little piece called 'IT'S JOHNNY'S BIRTHDAY'. I was surprised, incidentally, to see Harrison credited as composer of this one. It may well be that Bill Martin and Phil Coulter, who wrote 'Congratulations', will have other thoughts!" Alan Clayson and Keith Badman also imply that "It's Johnny's Birthday" was credited to Harrison only. There's a 1975 book I tracked down years ago − Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961−1975 − brilliant, reliable, published so close to the important early solo years, meaning no revisionism. Castleman & Podrazik give Harrison as sole composer for all five tracks on Apple Jam; to my way of thinking, this is a true reflection of the original release, although "Congratulations" composers Bill Martin & Phil Coulter were credited within weeks of the album's appearance apparently. (Supported by this from Badman's The Beatles Diary Vol. 2: "At one point during the recordings, the musicians break into a brief version of Cliff Richard's 'Congratulations', thus earning a royalty claim by its songwriters Bill Martin and Phil Coulter.") I had a copy of the vinyl album from the 1980s and nothing in the credits ever led me to believe that the contributing musicians on the other Apple Jam songs (Clapton, Preston, Mason, Keys, Mason et al.) were being listed as songwriters.

Looking online, here's a 1970−71 Venezuelan print of the album: scroll down to bottom of page and Harrison's credited for all tracks, with "Congrats" writers acknowledged also. Here's another early print, from Australia, with the same credits. (I bookmarked Spanish and German versions also, but they seem to have disappeared from Discogs now.)

So that's the original release in more minor territories such as S America and Australia, with support for the major markets (I suggest) from Castleman & Podrazik's All Together Now and to some extent, the NME review.

As I say, even with the 2001 reissue, I'm still not convinced that anyone but Harrison (and Martin & Coutler) are credited as songwriters on Apple Jam. The CD booklet is confusing: participants are named, in parenthesis, after each song, but each track's copyright is with Harrisongs (plus an additional company for Congratulations). In While My Guitar Gently Weeps, published in 2006, Simon Leng gives only Harrison's name each and every time on the Apple Jam songs; Allmusic gives Harrison for two of the five tracks, no credits for the others. In The Beatles Solo on Apple Records (2005), Bruce Spizer gives no composer at all, while in his 2010 Harrison biography Ian Inglis writes that the disc three songs were "ostensibly" written by Harrison. At the risk of contradicting myself, I wonder whether these last two examples show the situation in the US on release in 1970. Apple Jam was a "free" disc, and there were no royalties owed on the tracks as such, although US copyright control was ensured through BMI being named on the record inlays; I've seen Discog examples of this also, where BMI appears after each of the song titles, but no composer's name at all. (This same free-disc criteria might've been why Clapton could be named on Apple Jam in the UK, unlike on the main part of the triple set.)

Anyway, I'm speculating now ... But I do think it's correct to remove the other participants' names from the songwriting fields under original release. Given the sources and visual evidence given above, I hope there's no objection to that? The situation post-2001, I'd really like to hear from others about, as with the other suggestions I've made here. Cheers, JG66 (talk) 20:15, 15 August 2012 (UTC)

An addition to support Harrison-only Apple Jam songwriting credits: Graham Calkin's Beatles Pages. Seems to me, from this and other album pages on the site, that Calkin focuses mainly on the UK releases, of course. Also, The Beatles Bible − all Harrison only − for example "Out of the Blue". Cheers, JG66 (talk) 15:27, 16 August 2012 (UTC)


 * After dusting down (I kid, I kid), my copy of ATMP on vinyl, I'm not sure whether it's an UK copy or US copy (I know it's defo an original) now – the box and records say mfd in GB, whereas the sleeves say printed in USA. But the important matter:


 * The sleeve says:
 * "Out of the Blue"* is credited to Jim Gordon/Carl Radle/Bobby Whitlock/Eric Clapton/Gary Wright/George Harrison/Jim Price/Bobby Keyes/ Al Aronowitz (<- there is a space too on the sleeve between Keyes and Aronowitz, not sure why?).
 * "It's Johnny's Birthday"* is credited to George Harrison/Mal Evans/Eddie Klein.
 * "Plug Me In"* is credited to Jim Gordon/Carl Radle/Bobby Whitlock/Eric Clapton/Dave Mason/George Harrison.
 * "I Remember Jeep"* is credited to Ginger Baker/Klaus Voorman/Billy Preston/Eric Clapton/George Harrison.
 * Thanks For The Pepperoni* [new line] Same as "Plug Me In"
 * * (C) Copyright for the world by Harrisongs Music, Ltd., England. All rights for the United States and Canada controlled by Harrisons Music, Inc. Reprinted by permission.


 * The label says all published by Harrisongs, except for "It's Johnny's Birthday" published by Peter Maurice. World Music.. yeepsi (Time for a chat?) 12:35, 16 August 2012 (UTC)


 * Thanks for that, yeepsi. Seems to me you might have a US copy there, and perhaps not from the very first print run − who knows. I've read somewhere that the Martin & Coutler claim came within three weeks of the album's release, so mid December 1970 perhaps. I still maintain that the Apple Jam tracks being "credited" (on the sleeve) represents a list of the participants on each track, not the songwriters. In his 2005 book, when discussing the original US print run, Bruce Spizer mentions that the disc three outer sleeve gave (amongst other info) the "jam musician credits" − i.e. not jam songwriter/composer credits. Spizer also includes pics of the disc three record labels, which offer no songwriter names at all, just "BMI" under all five selections. (Which is why, I guess, he does't include any names in his sides five and six track listing either, as mentioned previously.) Seems to me that Harrison was credited as composer of all five Apple Jam tracks originally in the UK (as supported by Graham Calkin and Simon Leng, and implied to some extent by the 1970 NME review), and that at no point were Clapton, Gordon, Radle, Whitlock, etc credited on any record label. Based on that, my suggestion is that, under the article's Original Release track listing, they should be credited to Harrison, with "It's Johnny's Birthday" credited to Martin/Coutler/Harrison; the main text could then explain, under Release perhaps, about the Peter Maurice/Congratulations issue and the fact that in North America no composers had been credited originally. I'm happy to wait for more feedback from others about this, although having investigated the issue online and in a number of books, I'm now more convinced than ever regarding the original release. The 2001 reissue − still think it's a case of people assuming from the CD booklet that the musicians are the songwriters officially. What we need is someone who's got the 2001 or 2010 vinyl: what do those Apple Jam labels say − Harrison/Clapton/Whitlock/Radle/Gordon, etc? That would solve it for 2001 onwards, obviously. Thanks again, yeepsi − any more thoughts on this? JG66 (talk) 15:27, 16 August 2012 (UTC)
 * I've found only side one label of the 2001 vinyl, it doesn't seem to list Bob. I've also found the (US) editon of the 2010 vinyl, here. Just has BMI on it, sleeve is too small to read the print, but it seems quite like the original (US) one (what I have). I'll have a look around for the 2001/10 vinyl editions to get a better look at this. yeepsi (Time for a chat?) 15:40, 16 August 2012 (UTC)
 * This] could be a big help. yeepsi (Time for a chat?) 15:52, 16 August 2012 (UTC)


 * That's great, Yeepsi, thank you. You're right about the 2010 pics − they're exactly like those in Spizer's book (I thought they were the very same ones for a moment there). It seems the 2010 ATMP release was a deliberate attempt to reproduce the 1970 original, maybe. Yes − not even Bob's name appears on the 2001 label, so it doesn't bode well for Apple Jam, as far as being able to confirm songwriting credits. With the situation post 2001, I keep coming back to the sole publisher, Harrisongs, which to my way is unheard of in the 21st century − so many co-writers (if Clapton, Whitlock etc etc are indeed credited as such in the 2001 booklet), so you'd think the credits and disclaimers would read like a telephone book for each song. (Take for example the musician credits on the 2010 Exile on Man St. reissue − what a mess!) I put in a few messages to other contribs about this discussion. I notice an unsigned contrib actually made the changes I'm suggesting for Original Release track listing, back in January; the changes were undone by Malik Shabazz, who I hope will join us here. JG66 (talk) 16:30, 16 August 2012 (UTC)


 * In January, I reverted the change of the Apple Jam songwriting credits to George Harrison alone because that's not the way the credits read on the CD (the first CD release, which was at hand at the time). If the original credits showed Harrison as sole composer, and it is considered best to show the first credits and deal with the rest in the text, then so be it.
 * I'm afraid I can't contribute much beyond moral support toward making this article a GA, but I'd be happy to do whatever I can. You seem to have access to a treasure trove of materials about the Beatles and Harrison, JG66. — Malik Shabazz Talk/Stalk 02:26, 17 August 2012 (UTC)


 * Hi Malik Shabazz. Thank you for that. With track listing for the original release, yes, I think revert to "Harrison", and "Martin, Coutler, Harrison" for "It's Johnny Birthday" (even though the latter credit only came in on copies manufactured from December 1970 onwards); text under Release can provide comment on the Apple Jam credits (the fact that on first US copies, no songwriters were named) and the royalty claim from Peter Maurice Music. Text in the Subsequent Releases section could then mention the apparent sharing of songwriter credits from 2001, even though those credits are far from clear (I suggest, given that Leng hasn't budged on the issue). And yes, I do have a few books on Harrison/Beatles ... I dunno, they keep publishing more! Regards, and thanks again, JG66 (talk) 12:45, 17 August 2012 (UTC)

Reference format?
I started cleaning up the references in this article, but noticed they're not consistent. (e.g. "Leng, Simon" vs "Simon Leng", order of the items in the reference) I'd be happy to fix them, but want to be sure we agree on the format for this article before I do so. Thanks! GoingBatty (talk) 16:58, 16 August 2012 (UTC)

Hi GoingBatty. That's very considerate of you to ask, I gotta say. I'd noticed the issue too. From my point of view, I'd like to keep a uniformity if possible across all these Harrison album articles, and song articles too, come to think of it. The style I've used from The Concert for Bangladesh album and film through to The Best of George Harrison, and many song articles, is: Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006). It's a cleaner, more flowing arrangement than that used by many contributors, imo, and after investigating recently the different options for Notes (for abbreviated citations) followed by References (containing full sources), it doesn't seem that there's any rigid requirement to follow that Harvard system, with all its full stops − which I think looks dreadful, science journal-like. (I realise I'm probably in the minority on this!) That's the style I'd like to go with, given the choice; and as I say, it would be consistent with a great many other Harrison music articles covering 1970−75. In fact, I could name the ones where it's not − about 6 in total(!). One thing I wonder about is the inclusion of ISBNs, though. I get mixed messages on this, one GA assessor saying they're crucial, yet, during my investigation into referencing options or, say, when checking with WP:Albums style pages, I'll find examples and guidelines for citing books and there's no mention of including ISBNs, let alone a stipulation to do so. Any thoughts on this, GB? I've somehow managed to get a few Harrison GAs through and/or contributed heavily to others, all without ISBNs appearing ... or maybe I should keep quiet about that ... Cheers, JG66 (talk) 17:41, 16 August 2012 (UTC)
 * I'm not an expert on GA/FA rules, but if you have the ISBN, it doesn't hurt to put it in. I'll clean up the existing references based on your info above.  Thanks!  GoingBatty (talk) 00:11, 17 August 2012 (UTC)
 * Hi GoingBatty. Okay, I'll digs up the missing ISBNs, makes sense to add them. You'll see I've done a bit of work on the refs also, imposing the Notes + References approach. Cheers, JG66 (talk) 12:45, 17 August 2012 (UTC)

Ampersands and the MoS
I have reverted the inclusion of ampersands in the article as they do conform with the Manual of Style on their non-use and the permitted exceptions. See MOS:AMP. The fact that they may have been used in other Harrison-related articles is not relevant except as a reason to also remove them from these articles. Afterwriting (talk) 08:09, 21 February 2013 (UTC)
 * It is not a matter of my being "wrong" at all. I have presented the relevant MoS principle, which you were apparently previously ignorant of, and you have interpreted it in a particular way which differs from mine. So in future don't be so patronising and insulting. Afterwriting (talk) 01:05, 22 February 2013 (UTC)
 * You're wrong, Afterwriting. As that link you supply clearly states, the stipulation concerns "normal text" in the article, whereas: "Ampersands may be used with consistency and discretion in tables, infoboxes, and similar contexts where space is limited." I take the Sources section to be such a context, and the Citations also (after all, "page" is abbreviated to p./pp in those situations). I've tried to do a thorough job with all points of editorial style in this article – SilkTork will be the judge of that – and wherever there may be scope for interpretation of MoS requirements/guidelines, I've opted for an approach that can be applied consistently on all the Harrison articles I work on. So I don't appreciate someone arriving at an article when the GAN light comes on and making a change that is not required in the MoS, to suit their personal preference. (I certainly wouldn't do it to another's work if I could see that an approach has been applied consistently throughout the article.) I will be reverting again on those grounds, and I hope this will now be the end of the matter. Regards, JG66 (talk) 09:45, 21 February 2013 (UTC)
 * Just found this under Wikipedia:Citing sources/Example style as an instance where an ampersand is encouraged: "For a specific article or chapter in an edited book, use: * Pooh, Winnie T. & Robin, Christopher (1926). "Modern techniques in heffalump capture". In A. A. Milne (Ed.), The Karma of Kanga, pp. 23–47. Hundred Acre Wood: Wol Press." This together with wiki-wide mantra regarding consistency being key – not to mention this at CITEVAR: "Editors should not attempt to change an article's established citation style merely on the grounds of personal preference, to make it match other articles, or without first seeking consensus for the change" – makes me confident that it's quite correct to reinstate ampersands in the article's Sources section. JG66 (talk) 12:15, 21 February 2013 (UTC)


 * Shortened footnotes might be of interest here. Greetings,  Joshua Jonathan   -  Let's talk!   13:26, 21 February 2013 (UTC)
 * Hi Joshua Jonathan. Yes, I investigated them a while back. The problem is they're so limited in the amount of information they carry (okay, that would be the shortened bit, I imagine ...). The layout for References under Shortened footnotes with separate explanatory notes is the comma-ed option I'm big on. I've tried to customise those templates – no joy there. It's unfortunate that "Smith, The Universe, Random House, 2005" is acceptable/possible, yet there's no template for the longer-form equivalent, say: "John Smith, The Universe, Random House (London, 2005; ISBN ###)." Cheers, JG66 (talk) 15:29, 26 February 2013 (UTC)

The use of ampersands is not part of GA criteria so will not impact on the GAN.  SilkTork  ✔Tea time  18:22, 21 February 2013 (UTC)

Sales comparisons
The article claims that "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." This claim is contradicted by RIAA record awards; Imagine is 2x platinum (2 million) and Band on the Run is 3x platinum (3 million) for a total of 5 million while All Things Must Pass is 6x platinum (3 million 2-disc sets). The comparison is also muddled by the fact that the 6x platinum award followed the 2001 remaster of All Things Must Pass while the awards for Imagine and Band on the Run are more than 20 years old and those albums have been remastered and re-issued since then. A more direct comparison would be the awards for all three as of 20 years ago when All Things Must Pass was 2x platinum (2 million) but that isn't worth mentioning in the article because the information is so dated. Unless a timely and definitive comparison of sales data can be made regarding the albums in question, I would leave this out of the article.

As for the "first boxed set in the history of rock music," what about Elvis' Worldwide 50 Gold Award Hits Vol. 1?


 * Hi Piriczki – sorry, I've been watching Talk:All Things Must Pass/GA1 but not the article's talk page, so I hadn't seen this message before now. That's a good point you make about the Elvis box set in August 1970; I can now see why a number of sources I have overlook Woodstock and call All Things Must Pass rock's first triple album (and box set) – they're referring to the first studio work only, disregarding compilations and live albums. Thanks for that. I've changed mentions in the article to clarify the point. Regarding the mention of ATMP having outsold Imagine and Band on the Run combined, I disagree that it's contradicted or in some way muddled – more than anything, the claim is clearly presented in the article as just that, a claim. Bergstrom's article is (refreshingly) in-depth and accurate, in my opinion, and the judgement I've made editorially is based on that, and the fact that this detail is something I've read elsewhere (but no, not on Huntley p 61 or whatever it was, as you rightly pointed out). Another thing that adds credibility to Bergstrom's point, I suggest, is that McCartney and the Lennon estate are hardly backward in their proactivity regarding recognition for their respective interests, especially in comparison to both Harrison during his lifetime and the Harrison estate since 2001. That's a point that Bergstrom happens to make also, with Lennon's legacy, and biographers such as Hunter Davies and Howard Sounes have been pretty vocal on the issue of McCartney's "rewriting history" and otherwise orchestrating reappraisals of his past work. What I'm saying is, if there was an extra RIAA platinum gong up for grabs for either Imagine or BOTR, I find it difficult to believe that Mac or Ono wouldn't have got the RIAA audit underway. But the other thing to point out is that while you're talking about RIAA certifications, Bergstrom makes no mention of sales in the US or any one market; as an (international) internet music critic – rather than a reviewer for a newspaper-stand title, focused on a domestic market – he could very well be referring to global sales for these three albums. That's the way I take it. And it's a comment on international sales that I was/am interested in for this section of the article, because official certifications by country are found elsewhere, of course. Cheers, JG66 (talk) 02:49, 6 March 2013 (UTC)

Assessment comment
Substituted at 20:11, 2 May 2016 (UTC)