![]() Of course, 'ripping' YouTube content in this way is most certainly against YouTube's terms of service, though given the number of YouTube downloader extensions for desktop browsers, none of which seem to get stomped on by Google, I'm not sure that it's seen as that heinous a sin. ![]() But, given the latter, why not craft an application to direct the same audio stream into a local music file on the phone? Welcome to YouTunes! - it's beta-ish, but does work on the whole. They either stream it through the likes of Spotify (or Groove, though this is less likely) or just play tracks, as needed, via the official music videos on YouTube - the latter is completely free, though rather inefficient if all that's required is the audio. ![]() This set nimbly charts its triumphant and defiantly immovable path.One of the worst kept secrets in the modern world is that almost no young people 'buy' music anymore, at least in the traditional sense. More fulfilling than any of his former bandmates' solo outings, and more joyous too as it celebrates Harrison's emancipation, All Things Must Pass, a half-century on, serves as the musical template for artists moving on. And Harrison was never better than here: "My Sweet Lord," "Isn't It a Pity," "What Is Life," "Awaiting on You All" and All Things Must Pass' title track sound sharp in their upgraded environment – but, really, they would stand out in almost any situation. The remixed album is now punchier but keeps the primary focus on the songs. (It's debatable though how much pre-thought actually went into the jams "I Remember Jeep" and "Thanks for the Pepperoni.")Ī disc of outtakes ranges from instructive (an early version of "Art of Dying" in which Harrison shows his bandmates, including Starr, when to start playing) and inspired (on-the-fly blues featuring four-fifths of Derek and the Dominos) to exasperated ( "Isn't it so shitty, isn't it a pain, how we do so many takes? Now we're doing it again," Harrison sings on Take 14 of "Isn't It a Pity") and yeah-why-not (a first stab at the throwaway "It's Johnny's Birthday"). 1 by a Beatle, to the White Album-era "Sour Milk Sea" – seemed to have purpose on All Things Must Pass. You can hear it in early and alternate versions of songs like "Isn't It a Pity" and "Run of the Mill" that didn't stray too far from the template, as well as in the eventually discarded pop hymn "Cosmic Empire." Nearly every track – from the exalting "My Sweet Lord," the first solo No. Still, Harrison went into the project with a mostly determined mindset. The more spare takes Harrison undertook himself the following day with just an acoustic guitar benefitted a bit more from the studio upgrade. First-day demos of "All Things Must Pass" and "Behind That Locked Door" recorded on May 26, 1970, with bassist Klaus Voormann and Starr on drums gained little more than a smattering of producer Phil Spector's polish (and some horns and strings) in their completed states. It's also a journey that left for its destination almost fully formed. Across 70 tracks, more than half of them previously unreleased, the album's evolution unspools via demos, outtakes and alternate versions, and it's a pretty remarkable journey. As far as solo records by disgruntled band members go, All Things Must Pass is the king of the heap.Ī six-disc 50th Anniversary Super Deluxe edition of the landmark LP (one of those discs is a Blu-ray featuring surround mixes) documents the overall looseness and occasional urgency to deliver a record that would show Harrison's former bandmates just what they'd been neglecting for the past decade. But there's no doubt it's a revelatory artist statement, more so than McCartney's self-titled album and on par with Lennon's Plastic Ono Band. Sure, Sides Five and Six were unwieldy and thinly thought out compared to the preceding two records, and the immediately hooking songs came early, leaving the more introspective tracks for later. So when All Things Must Pass arrived in November that year, it sounded like a huge exhale by an artist who'd been asked to hold it all in far past the usual tolerance levels. Harrison's years leading up to the Beatles' breakup in early 1970 were filled with two experimental and mostly instrumental solo records, a growing aggravation with Lennon and McCartney's insistence on dominating the group's songwriting, and disillusioned walkouts as recording sessions became more and more contentious.
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