One of the key concerns Scott said he had with removing or minimizing the reverb was that it could uncover a lot more than what he or Harrison bargained for. Packaged in a variety of different formats, including a thousand-dollar wooden box with lots of extras, All Things Must Pass 50th Anniversary Edition boldly goes where no other solo album by George Harrison is likely to go - built with enhancements bound to annoy anti-revisionists. To celebrate the album’s 50th anniversary, extra bonus outtakes and demos were dug up to go with the remixes. Pepper’s Lonely Hearts Club Band, The White Album, and Abbey Road, as well as John Lennon’s Plastic Ono Band and Imagine albums, Harrison decided to have All Things Must Pass upgraded and remixed in both stereo and high-resolution surround sound. Recruiting award-winning engineer Paul Hicks, who had been part of the remixing team on the Beatles’ Sgt. That should be testament enough.”ĭhani Harrison, the late Beatle’s son, decided to take matters into his own hands. It’s out there the way he originally heard it. “If he’d still been alive, I have absolutely no doubt it would have been done.
“I think without George, it wouldn’t be the same thing,” Scott told me. I reminded Scott that Harrison had stated he wasn’t all that keen on Phil Spector’s “Wall of Sound” style of production, and that Paul McCartney certainly had no problem remixing Let It Be, undoing the work of the disgraced, imprisoned (and now deceased) producer. He was the engineer on the original mix, as well as on the 30th anniversary remaster that came out in 2000 - one of the last things George Harrison was directly involved with before his unfortunate passing in 2001 - so he certainly had the credentials. I asked him point-blank who or what was stopping him from doing a reverb-free remix of All Things Must Pass. During a 2010 interview I did with producer and recording engineer Ken Scott, we spoke about his work with George Harrison.