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Fix the driver behind crashes, sound loss and screen glitchesFind Drivers →Clear out junk files and repair common Windows errorsFree Scan →George Harrison’s All Things Must Pass is a landmark example of a triple album whose scale comes from more than its length: two LPs of songs move across a wide range of styles, then a third LP shifts into extended improvisation. Its expansive sound is different from the narrative ambition of Pink Floyd’s The Wall, a four-sided story album rather than a triple-LP counterpart.
What makes a triple album feel expansive?
“Epic soundscapes” is best understood as a listening lens, not a formal genre. A long record can feel large through contrasting musical styles, layered production, performances that unfold over time, or a sequence that creates a journey. Those qualities can overlap, but they are not the same: sonic breadth is not automatically a story, and a narrative concept does not determine an album’s format.
All Things Must Pass offers a particularly clear example because its original three-LP arrangement gives its final record a different role from the first two. The result is not simply more songs; the format changes how the listener encounters the album.
How All Things Must Pass uses its three LPs
Two LPs of songs, followed by “Apple Jam”
Released by Apple Records in November 1970 and co-produced by Harrison and Phil Spector, All Things Must Pass was issued as a triple LP. In its original configuration, 18 songs occupy the first two LPs. The third, titled “Apple Jam,” contains four improvised instrumentals. The artist’s official album page documents that track layout and credits participants including Eric Clapton, Ringo Starr, Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, members of Badfinger, players from Delaney and Bonnie’s band, and John Barham.
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That division gives the record two different modes of listening. The first two LPs present composed songs across a broad stylistic field; “Apple Jam” makes room for instrumental interaction and spontaneity. Rather than treating the third LP as a conventional continuation of the song sequence, it works as a distinct coda to the album’s main body.
A broad stylistic range
Universal Music Canada’s 2021 anniversary announcement describes the album’s 23 tracks as spanning rock ’n’ roll, country, gospel, blues, pop, folk, R&B, Indian classical music, and devotional songs. That range helps explain why the album can feel expansive even before considering its duration: its musical world is not built around a single texture or genre.
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Harrison himself recalled the abundance and energy behind the project. In the label’s June 10, 2021 announcement, he is quoted saying: “Even before I started, I knew I was gonna make a good album because I had so many songs and I had so much energy. For me to do my own album after all that – it was joyous. Dream of dreams.” The remark connects the album’s scale to a creative surplus, rather than presenting length as an end in itself.
Grandeur as part of the effect
The record’s ambition was apparent to contemporary criticism. The official album page reproduces a 1971 Rolling Stone review excerpt by Ben Gerson, who called it “both an intensely personal statement and a grandiose gesture” and wrote that “the music itself is no longer the only message.” The phrasing captures a tension at the center of the album: intimate feeling sits within a deliberately large musical frame.
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How its scale differs from The Wall
Pink Floyd’s The Wall is useful as a contrast in how an album can create a sense of scale, not as another triple album. Pink Floyd’s official album page dates its release to November 1979 and lists tracks across four sides. It describes Roger Waters’ partly autobiographical story of Pink, a rock star taking stock of his life.
Waters conceived the idea during the 1977 Animals tour, after imagining a wall between the band and its audience. The album follows the wall’s construction and collapse, with an ending that leaves open whether another cycle begins. Its expansiveness therefore comes largely from a character-centered narrative architecture. All Things Must Pass, by contrast, creates breadth through stylistic shifts, performances, production, and the separation between its song LPs and jam LP.
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| Listening dimension | All Things Must Pass | The Wall |
|---|---|---|
| Format documented by the official artist page | Three LPs, with two song LPs and a third “Apple Jam” LP containing four improvised instrumentals | Tracks listed across four sides; it is not identified here as a triple album |
| Source of expansiveness | Stylistic range and the transition from composed songs to improvisation | A story centered on Pink and the construction and collapse of a wall |
| How sequence creates a journey | A two-LP body of songs followed by a distinct jam coda | A narrative arc tracing the wall’s rise and fall, with an unresolved cyclical possibility |
| Production texture | Co-produced by Harrison and Phil Spector; the official 2021 anniversary page describes a later remix | The official album page establishes the concept and track layout but does not, in the cited description, specify a comparable production-texture account |
Why edition and format change the listening experience
“The album” can mean the original three-LP sequence or a later edition that adds archival material and presents a different mix. Harrison’s official 50th-anniversary page says the 2021 release was completely remixed from the original tapes. It documents an 8LP/5CD/Blu-ray Uber Deluxe set with 70 tracks total, including 47 demos, outtakes, and jams—42 of them previously unreleased—and Blu-ray mixes in hi-res stereo, 5.1 surround, and Dolby Atmos.
Those specifications describe the 2021 anniversary edition, not a guarantee of present-day availability. They also represent a different listening proposition from the original album: the core three-LP sequence presents the songs and “Apple Jam” as a shaped work, while the expanded edition adds a large archival collection and alternate playback formats. Anyone comparing editions should check the specific release’s track list and format rather than assuming every version contains the same material.
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What the album’s reception tells us—and what it does not
Universal Music Canada’s 2021 announcement reports that All Things Must Pass spent seven weeks at number one on Billboard’s “Top LPs” chart and eight weeks atop the UK official albums chart. The announcement notes that UK chart records until 2006 mistakenly showed a peak of number four. It also reports 6× platinum RIAA certification and a 1972 Grammy Award nomination for Album of the Year. These are figures as stated in that 2021 announcement, rather than a live recheck of current chart records or certification.
The same label announcement calls the album the “first-ever triple studio album.” That description belongs to the label; it should not be taken as an uncontested historical verdict across every possible definition of a triple album, especially where live multi-disc releases may or may not be included.
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