ACHOF’s Mike Goldstein interviews Grammy-winning art director Darren Evans about the All Things Must Pass 50th Anniversary Album Package for George Harrison – Darren Evans, Dhani & Olivia Harrison, Art Directors – winners of the Grammy Award “Best Boxed or Limited-Edition Package” at the 64th Annual Grammy Awards show (2022).
Posted August 26, 2022 by Mike Goldstein
Throughout each year, the many members of the professional organizations related to the entertainment industry gather together to review the work product of their peers (or, in the case of several prominent media organizations, projects done by those they track and report on), select the best examples of that work and then honor those who produced and/or performed those works with awards that symbolize these achievements. Some awards are quite niche-oriented, perhaps representing a great example of creativity in a particular aspect of the work produced (like a product manufacturer’s award for best use their products), while others are much broader in scope and meant to bring a sense of great accomplishment, value and joy to both the winners and their fans. In the recorded music business here in the U.S., some of the most-coveted and highly-valued awards are those handed out by the Recording Academy, AKA “the Grammy organization”, with Grammy Awards handed out each year in dozens of categories, including three in the “Packaging” category.
As part of my effort to keep my readers up to date with the latest news about the people who make our favorite album covers, each year I attempt to provide an interview with one or both winners of the album art-related Grammy Awards – “Best Recording Package” (originally “Best Album Cover” and re-named in 1993) and/or “Best Boxed or Special Limited Edition Package” (known as “Best Boxed Recording Package” when the award was added in 1997 and changed to its current name in 2002 when the definition was expanded a bit) and, happily, I’ve been able to secure interviews with many of the winners over the past 10+ years of the ACHOF’s existence.
This year, an award was given out for the “Best Boxed or Special Limited Edition Package” to a team of creatives that included both an accomplished designer/art director (who worked for EMI Music and Universal Music Group for many years before setting up his own independent design shop in 2016) and the design-savvy wife and son of the late George Harrison (Olivia and Dhani Harrison) who collaborated on the much-lauded 50th Anniversary packages for George’s seminal 1970 3-disc release All Things Must Pass. This record was itself a very unique offering – both musically and packaging-wise – when it was originally brought to market in November of 1970, just a few months after the “official” breakup of The Beatles. It was George’s first post-Beatles solo record and Harrison wanted it to be something special, turning to noted designer Tom Wilkes to have him prep a hinged box in which the LPs and bonus poster print were packaged (vs. the industry-standard triple gatefold package that would have been used otherwise).
So special was this recent project that it also was bestowed with another significant industry award, that being the “They Said It Couldn’t Be Done” trophy in the 2021 Making Vinyl Packaging Awards (adding Paul Hicks, responsible for audio mixing/engineering, to the team of award recipients). Fan and consumer interest was so great that the most-deluxe (and expensive) versions sold out quite quickly. With all of the attention the project received from the press and fans worldwide, I knew that it’d be important to be able to secure and share the story behind how this product was conceived and produced and, lucky for us, Darren was kind enough to work with me so that we’d be able to share those details with you, which I’m now pleased to do. I think that you’ll come to the same conclusion about what makes for a successful collaboration that I did – that being one between creative people who are truly passionate about the product they’re working on. After the interview, I’ll give you a bit more info about Darren and on the featured record package (both the original version and the award-winning 50th Anniversary product)
Interviewed via email July/August, 2022
Mike Goldstein, AlbumCoverHallofFame.com – Darren, before we get started, I just wanted to say “congratulations” again to you on your Grammy win and for the great reviews you’ve gotten for the package you created. It’s really something special and something befitting a 50th anniversary rendition of an all-time classic rock album package – one that was the first 3-LP set in rock music history, ultimately selling over 7 million copies in the U.S. alone, I believe. I know that you’ve worked on several Beatles-related packages over the years, but can you tell me how it was that you were first introduced to your clients – and artistic cohorts – on this project? Had you worked with the Harrisons before?
Darren Evans, Art Director – Thanks Mike. We are so pleased with the Grammy win and how the release has been received. It turned out much better than we ever could have imagined. I was really pleased to be involved in this project, as the album been a firm favourite of mine over the years.
I have worked with both Dhani and Olivia before collaborating with them on the ‘All Things Must Pass’ box set. I remember first meeting Dhani when I was quite a new member of the design team at EMI Records. It was a few years into my dream job of combining music and design when I met Dhani. He had just designed the George Harrison Brainwashed album and was visiting the EMI Art department to double check the technical aspects of the design set-up. I was invited by my Art Director and Dhani to view the design. As a big Beatles and George Harrison fan, I was delighted to see the artwork and meet him. He spent a lot of time talking me through the design and the ideas behind it, as well as playing me the new George album.
During my time at EMI I worked on various projects and have met a lot of artists and management teams. I would help out with Beatles projects – although I wasn’t the principle designer – and I believe I met Olivia during one of these projects, but I can’t quite recall the first time. I often helped out with adverts, Point-Of-Sale projects or supplying various archive items to Apple. I first got to work directly with both Dhani and Olivia in 2014 when we designed the The Apple Years: 1968 – 1975 box set. This was then followed by the George Harrison – The Vinyl Collection a few years later.
Dhani and Olivia are incredibly creative people and I really enjoy running through designs with them, brainstorming ideas and developing concepts further. They are both very inspiring and together have some fantastic stories to share.
Mike G – Can you share any additional details about the things that were discussed during these brainstorming sessions?
Darren E – When we work together at Friar Park, we talk and share ideas in one of the buildings that is adorned with art pieces that has been collected over the years. Olivia has an amazing memory of book, notes, related objects, etc… We can be talking about something that will jog her memory and then, all of a sudden, she will disappear for a bit, returning with armfuls of material that help continue the discussions… but maybe in a different direction.
During working on the box set, we discussed all parts of the design together and came up with ideas together. I would then spend time putting these thoughts into a layout, expanding on them and seeing if they worked or needed more ideas. We would then review them together and discuss.
MG – I’d have to think that working with two such multi-talented people – Dhani as a composer and musician and his mother Olivia, an accomplished author/poet, producer and philanthropist – would inspire you to do your best and that working with people who have such an in-depth knowledge of the materials and the stories behind them would make the project all the more compelling. In addition to the Harrisons, and based on your take of all the people involved and your knowledge of the music business today, can you tell me what it is that makes Apple/UMG Records – and by that, I mean the labels and their respective approaches to promoting/packaging music – different from other similar labels in the box set/special products “category”?
DE – I think over the year’s most labels and record companies have seen the value in creating certain box sets for consumers and the quality of these products continues to improve. I don’t think the approach differs between various labels but there are some artists that command a certain ‘level’ of archive release. This can be due to many factors – an audience who would be interested in an expanded product; the archive, which Includes the music and material that would complement the package, and artists and their managers who have time and the willingness to help creating these types of packages.
Creating these products takes a lot of thought and time. The tendency to fill a package with as much music as possible, or as much archive material, isn’t always the best approach. I always feel that the editing process that enhances the original album and helps the story works the best. The other elements that help with creating engaging box sets Includes the archives, music, images, paperwork and anything to help with the artwork along with having access to people who were there to help tell the story. It does of course help to also have a fan audience who drive the excitement of these releases.
The last few of these box sets I was involved with have had some wonderful promotional parts produced prior to their release. Dhani was really involved in creating a fair few ‘music’ videos and there were some great hash-tags trending before the release date. As I’m a ‘print’ designer, I don’t tend to be involved in the web based or moving image parts of these promotional items but will always support with the more traditional elements as press adverts, posters etc…
MG – A design guide has to take into account so many aspects of the promotion and sale of a product, so I’m sure that your work had to integrate the most-important aspects of the basic designs. Were there particular tracks – or something special about the music overall – from the lists of songs that were to be included in the packages that served as the inspiration for each package’s design scheme? What I really want to know Is whether a) you listened to any or all the music that was going to be in the boxes before starting on the design project and b) whether any of the music – or something about the artist’s persona – influenced your approach to the design.
DE – George’s All Things Must Pass is one of my favourite albums, and it was when I was younger and started collecting everything Beatles-related. This was the album I was really keen on helping to work on, if it was ever to be re-issued. To make that obvious, I put my name forward to Olivia about five years before the anniversary project was started!
It was important to listen to some of the music before starting on this project, with the music itself was being worked by Dhani and Paul Hicks. I would have loved to have heard it all but, because of the complexities of a box set this size, It meant that the music was being worked on at the same time as the design process was taking place.
During the first meeting with Olivia and Dhani I understood what their vision for the project as a whole was and, importantly, saw their passion for the album. We all worked together to get the graphic feeling of the project right. As Dhani was mixing the music, he knew how he wanted the music to sound and how the artwork should reflect it.
The design approach was based more on the artist’s personality at this time of the original recordings. With both Olivia and Dhani involved, they knew instinctively the approach that we should be exploring. The album title and track All Things Must Pass also of course played a huge role in the visual approach.
MG – As an art director with a lot of experience in the field, when you first considered putting together a collectible package based on materials such as these, what questions do you ask yourself? Perhaps a better question is “what is it that we’re trying to accomplish as you approached each version of these products”?
DE – I find the first question in the design process is always “what would the fans like to see or know about a certain album?” Being a big fan of both the artist and the album, there were certain things that I was keen on knowing and hearing, which led to the question of what we could offer as a package that would help the original audience better understand and appreciate the album and new audiences grasp and consider for the first time. Of course, we have to always keep In mind how the artist would want us to present the their work.
MG – Keeping the target audiences for these products in mind, how do you go about determining what’s going to be included inside a box set or special package, besides the music?
DE – Lots and lots of research is always the starting point in a project like this one. We’ll first look to find a timeline of the events leading up to the album and then what happened after. Then, for context, we’ll look at what was going on during the time of the recording, possible influences and who were the people involved, etc. From this point, we can start researching what materials might be available, such as diaries, tape boxes, recording notes, photographs, lyrics, etc…Studying the original artwork and the original promotional material also proves great inspiration. Could we produce an original poster? Was there an alternative design for the cover? etc… Or, in the case of All Things Must Pass, can we re-create the cover in 3D?!
There are certain practical considerations to the basic design of the package, too. What parts of the design are first seen? Does the audience want to get to the music first, or should we take them on a journey before presenting the music? How will they store the package, and does it fit on a shelf? Can it be recycled or made with recycled material? The question I always like to have at the back of my mind is, “how can we keep surprising the consumer and keep people engaged for a long time?’
MG – Since the ultimate consumers for packages like this will consist of both collectors and the artist’s dedicated fans, I’m curious as to how you make these products both “collectible” and “worth the money”?
DE – This is always a difficult discussion. We don’t tend to start a project with the ‘idea’ of making something collectable. With the ‘tag’ of collectable it tends to be linked with ‘limited’ and, as a designer and lover of music, I want the widest audience possible. The tag of ‘collectable’ gets me worried that the product we’ve created might not be opened and enjoyed.
Some releases do develop into bigger projects, though. The remastering or design process develops from the inital idea. This could be because of various factors. For example, a lost tape or something special is found or more music is available than we’d originally thought. These are things that might change the design and packaging.
The idea is always to present the packaging to the best of our ability, without creating something that is too expensive for the audience. On the All Things Must Pass project, as we developed ideas, we created a ‘collectable’ box set that had more elements and, as a result, could become out of reach to many fans. As the Harrison’s would like products to be all inclusive, we were also tasked to create something that included as much as possible and that were still affordable, so when we create our product suite, we always keep this in mind so fans have options at all price points.
MG – I’d like to explore the subject of price points a bit more with you by asking how It Is that you determine what the “ideal” price points were to be for these packages, and then how did you determine the scope (i.e., the design guide) for each variation that was going to be offered?
DE – I tend to keep a rough idea of price points in mind, but this is usually down the record companies to set a budget limit. My pricing view comes from my experience of working in an in-house department for EMI and Universal Music and working closely with the marketing and production teams over the years.
Usually when we start a project like this we would run through the full product suite and what music would be included in each set. With this information I would be able to plan how I would like the different sets to look and what information each set would need and what I would like to include. All this information would be then passed over to the project manager and production team. We would then discuss if the format requests would work from a price point.
MG – Based on the scope and the sheer opulence of what you put together, this job looks like it would have required a larger-than-normal team of designers, illustrators, graphic artists, etc., so how did you choose the talent who would work with you on this effort? Can you help me better understand the “who did what” on the project?
DE – In actuality, we had quite a small group of people working together during this project. It was also put together when the world was going through the grips of COVID, so working face to face was quite difficult at times, although we got used to working and sharing ideas on video. We had a ‘core’ team, but then certain tasks were assigned to people who we felt could best achieve the result we wanted. Dhani and Olivia have a wealth of knowledge and have worked with so many talented people over the years, so we had a substantial list of artists, writers etc… who were always available if there was a task that needed specific expertise.
I was asked to help with the design by Olivia. Between her and Dhani, they created the team they wanted to work with. When we came up with the idea of the oak leaf on the cover or the Klaus Voorman print that was to be included, both Olivia and Dhani already knew of the people who could help with these tasks. I was supported a lot by the production teams in the US and in the UK, testing out material finishes and receiving samples and working out how certain parts could work in the box set.
MG – I can only Imagine what It must be like for any creative or production person to be on the receiving end of a phone call during which he or she Is asked “how would you like to work on a project for George Harrison?” Who could say “no”? So, in addition to the case and amazing amount of music included – including dozens of previously-unreleased tracks – one of the stand-out aspects of this special package was all of the bonus content you created – a scrapbook containing archival notes and track-by-track annotation curated by Olivia H, the special “making of” book about the original album, all the photos and other swag – that provided collectors with their choice of “treasure troves”. Can you give me any insight into the decisions made to produce some of these materials as well?
DE – Yes, isn’t it amazing?! Opening the set is a really great experience. The amount of material is breath-taking. When I first received a box, even though I helped put it together, I was still so excited to run through everything and see how the parts revealed themselves.
Dhani had various items that he wanted to be part of the box set – The Gnomes, the Beads, the ‘Light from the Great Ones’ book, etc. Then we had the records and the CDs all needing to fit and be housed in the wooden crate.
There were endless discussions on the approach to the book. Would liner notes work? Should we have track by track descriptions, or info on the recording of the album? I think we tested a design with lots of different approaches and ultimately came to the conclusion that we should have two different books – one visual, and the other with the ‘core’ recording information fans would like.
We took a lot of time researching and looking through archive material that George had collected during this period of time – diaries, paperwork, notes, lyrics and photographs. Olivia also found so many quotes from George and the musicians who played on the album. We decided the best approach would be to make a visual track by track including those quotes followed by a few other sections that we felt were important to include. The original book was going to have a real ‘scrapbook’ feel with all parts stuck in but the design ended up looking like it deserved a more-considered and precise look, but with the finishes giving certain effects.
We did have a lot of fun, although it was rather tricky to set up the artwork, with some of the ‘tip-ons’. My favourite one is the coloured ‘All things Must Pass’ cover from 2001. That was a real challenge to get the artwork correctly set up on acetate sheets so it layered perfectly.
MG – I’m curious as to whether you work with any of the fan groups or others on social media to help make these decisions or source things that might be included? Have they ever given suggestions that ultimately found their way Into the finished product?
DE – I have a few fans that I work with if I need to get certain material or if I need to get a bit more knowledge on certain subjects. I tend to stay off most of the fan pages on social media though, as I can be a bit sensitive to bad ‘reviews’. I have seen lots of suggestions on what we should be doing and, luckily, good reviews on what we are doing overall. We don’t work directly with fan groups, but we are aware of the discussions in forums that tend to cover lots of subjects relating to the artists.
MG – When planning this package, did you take notice of any of the current trends in the conceptualizing of box sets or limited-edition packages and, if so, what might those have been? I’m referring to things like multi-colored vinyl, laser etching, liquids sandwiched between discs, extra “hidden” content and loads of different goodies included in packages…
DE – Yes, always. I love to see what other designers and record companies are creating or new techniques that have developed. I do have a list of certain technologies that I’m looking to use on projects. I love certain current trends, but I do need to be careful how they are used, as they need to fit in with the overall atmosphere and feeling that we are trying to create for a release.
MG – When you think back about all of the project coordination, pre-production, printing, etc., that was needed to do the work, how long did this entire project take – from start to finished products?
DE – When I was asked to help out with the design of the product, I believe that Universal and the Harrison family might have already been working on the project for a good few months. From my involvement – my first meeting to final product – it was just under a year. During the process, we were slowed down and faced many issues due to the Covid crisis. This affected meeting up with the ‘core’ creation team, getting hold of certain material and supply chains issues.
MG – While the restrictions and disruptions caused by COVID may have added a lot of time to the overall process, were you all able to quickly adjust to the “new” ways of working?
DE – The Harrison’s – both Dhani and Olivia – were heavily involved in everything we did.
At first I was working with Olivia, then Dhani came back to the UK from the US, and we formed our ‘Covid work team’. We worked through of all the elements of the design together, checked material and proofed every stage of the process.
MG – COVID certainly proved that, where there’s a will – and technology – there’s a way. Although I’ve already asked you to describe some of the inspirations and how you collaborated on the project, can you indulge me a bit and recount just how involved the Harrisons and “the people upstairs” in Ume/Capitol management were in the day-to-day development and review process of ultimately deciding what you should produce? Did they give you enough money and/or time to do what you wanted to do?
DE – Throughout the project, we had weekly meetings with the UMe team (Editor’s note – “UMe” stands for Universal Music Enterprises – the record label that this package was released via). The team at UMe knew how important this album was to the fans and to the Harrisons and fully supported Dhani and Olivia’s vision. I had previously worked with the team at UMe and they were happy for me to work directly with Olivia, Dhani and the production teams. Universal had a lot of trust in us and were happy to leave us working creatively together and support our decisions.
MG – So, I’d like to ask you – without betraying confidences, of course – whether there might be any other anecdotes about this project you’d be willing to share…every project I’ve ever looked into seems to have something of an “a-ha moment” or an “OMG moment”, so anything you’d be willing to share would be quite a treat for me and my readers!
DE – I recall brainstorming the bookmark cover design, and it was an amazing experience. Everybody was so inspired at that point and ideas were coming out so quickly. The start point was, of course the leaf – a symbol that runs throughout the design. We looked at using real leaves, pressed and sealed for the cover. Of course, we were keen to have George on the cover but also have the book wrapped in material. The perfect solution seemed to come out from everybody at the same time. The great part was how the wooden leaf – made from ‘Friar Park Oak’ – could then be used to form the bookmark! We must have scanned over 100 leaves from Acer trees in Friar Park to get the perfect shape for both the cover and the bookmark.
Other design moments just seemed to flow perfectly. The discussion on the box design, that would hold the 3D models, seemed to take no effort. Dhani and I gave each other knowing looks, both thinking the same thing – that the design just had to be the background from the original cover, so the audience could set up their own ‘album cover’ scenes using the George and Gnomes models included in the package.
MG – While the sell-out of the initial run of the Super Deluxe limited-edition 8LP product and the Grammy and the 2021 Making Vinyl Packaging Awards wins were good Indicators, do you feel that everyone involved in the production of these sets were truly happy with the results? If so, how did they express that to you?
DE – Everybody was so delighted with the final product. I had so many lovely messages from everybody involved and people who had seen it after we’d finished it. The winning of awards is truly a lovely thing. I couldn’t make the Grammy award show but I watched it with my family in the UK, with a bottle of bubbly on Ice nearby. It was amazing to hear our names read out and loved Olivia’s acceptance speech. Both Olivia and Dhani phoned me after which made a special night, one truly to remember.
I have also heard that the awards keep coming! Recently, Dhani told me that the promotional video for “Isn’t It A Pity” picked up 2 Clio Awards, three Axis Awards and several other nominations and awards from other noted organizations.
MG – It is always nice to get praise and accolades from your peers, I’m told. Finally, on a more personal note – where do you have your new Grammy on display?
DE – I’m so excited about the Grammy. It is on display in our house and, as I placed it subtly in the background, it will be visible on any work video calls I make from now on. I live in a small town in England and we have a queue of people keen to see it, so you never know it might end up in the town hall for a while at some point. I think my children are also quite keen to take it into school for a ‘show and tell,’ too.
About our Interviewee – art director Darren Evans –
(b. June, 1977 in Kent, U.K.) Born in Kent but raised in Bristol, at a young age Darren found himself amazed by the graphics he saw on the TV screen. He also had a love for music and, not satisfied with his family’s limited music collection, he’d spend his pocket money on the latest releases. He applied his talent and passion as a teen to making his own mix tapes and CDs for friends, designing custom covers for those productions and then, benefitting from his school’s new Apple Macintosh computers, he’d go on to complete coursework in Graphic Design, followed by A-Levels in Art and Photography, which enabled him to study Graphic Design in college at the Weston College of Arts and then at Falmouth University, where he majored in Graphic Communication/Graphic Design in the late 1990s.
After university, Darren was hired on by the UK design office of the consumer electronics company Saitek. According to Darren, “I never really thought to mix my love of design with music – I thought that part of the industry was quite ‘elite’. I moved to London in June 2001 and had a chance meeting with the Art Director at EMI Records, after which I was taken on as a freelance designer working for the in-house design department. I loved working at EMI, the people, the work and the atmosphere. It was a wonderful place to ‘grow up’ as a designer”.
For the next 15 years, Darren worked as a designer then Art Director for EMI Music, moving on to the Universal Music Group in May of 2013 where he remained until early 2016, when he launched his own independent design shop, Studio Evans Limited. Over the years, packaging, Point-of-Sale and entertainment marketing projects he’s worked on have won several industry honors, including the aforementioned Grammy and Making Vinyl Packaging awards.
In addition to the previously-mentioned packages, several of Darren’s most–notable album package credits include – David Bowie – Serious Moonlight, The Best of Bowie, Live: Santa Monica ’72 and Ziggy Stardust Live: Hammersmith Odeon 1973; The Stranglers – Long Black Veil; The Beatles – Sgt. Pepper’s… (50th Anniversary set), The Beatles (“White Album” 50th Anniversary set) and The Singles Collection; Morrissey – Viva Hate; Talk Talk – Natural Order; Ultravox – Brilliant; Elton John – Regimental Sgt. Zippo; OMD – Architecture & Morality: The Singles; Freddie Mercury – Never Boring
More information on this artist can be found online at https://www.linkedin.com/in/darren-evans-b8251554/?originalSubdomain=uk or https://www.discogs.com/artist/1856469-Darren-Evans-2
About All Things Must Pass by George Harrison –
Over 50 years have passed between the time that this album was released (in November, 1970) and received its first Grammy Award nomination the following year for “Album of the Year” (along with a Grammy nom for “Record of the Year” for the song “My Sweet Lord”) and its nomination and win for “Best Boxed or Special Limited Edition Package” at the 64th annual Grammy Awards. During that time, the Recording Academy’s National Trustees graciously presented the Harrison’s with a “Hall of Fame Award” in 2014 “to honor recordings of lasting qualitative or historical significance that are at least 25 years old.” While the 50th anniversary package was an impressive achievement in and of itself, the original package was also quite notable in that it featured the work of the late great album cover artist (and 2012 ACHOF inductee) Tom Wilkes and his Camouflage Productions partner, the late photographer Barry Feinstein, who were commissioned by George to come up with a stylish alternative to the traditional gatefold-style cardboard covers. This was a 3-record set, and Harrison was looking for a hinged box, something usually seen only in the classical record bins.
The cover image of the package finds Harrison seated on the lawn of his impressive Henley-on-Thames (UK) estate known as Friar Park, surrounded by a set of four garden gnomes which reminded Feinstein of the band he’d recently been a member of, and Barry also produced a poster image (packaged in with the set) of George standing in front of an ornate window inside his home. Other photos from that shoot were later used on covers for some of the album’s singles.
Fans ate the package up at retail, with the set (counted as a double album by the RIAA), hitting “Gold Record” status in just a few weeks, topping the Billboard 200 charts in under two months and ultimately selling over 3 million copies, so it was no real surprise that, 30 years later and just after the turn of the millennium (in 2001), Harrison decided to re-issue the set on his own label (Gnome Records), with modifications done to the original record art (colorizing the front cover and updating some of the shots showing Friar Park’s present-day landscaping).
In June of 2021, Harrison’s family and current record label announced that fans would soon be treated to the release of a 50th anniversary edition of ATMP, with this latest reissue being made available in seven different packages, from the entry-level vinyl and CD packages to what’s known as the “Uber Deluxe Edition” set, originally priced at about $1000.00 retail, which included dozens of previously-unreleased tracks, a scrapbook with track-by-track annotation (curated by Olivia H), an entire book about “the making of” the original 1970 package, illustrations by musician and Revolver cover artist Klaus Voormann and a truly-unique bonus – a set of figurines that replicate George and his Friar Park gnomes, as seen on the cover photos (wait, there’s more…).
If you’d like to dig deep into this package and all of the contributions made to its creation and pre/post- production, I’ve assembled a list of related links and articles that you might find helpful –
https://store.georgeharrison.com/ Retail site with all versions available.
Ume/Capitol’s Grammy win package overview release – https://www.prnewswire.com/news-releases/george-harrisons-all-things-must-pass-50th-anniversary-edition-wins-grammy-award-for-best-boxed-or-special-limited-edition-package-at-64th-annual-grammy-awards-301516489.html along with a congratulatory announcement (with nice picture of Olivia holding her Grammy Award) found on the George Harrison web site – https://www.georgeharrison.com/allthingsmustpass-50-grammy/
Dhani Harrison’s August, 2021 interview on the Consequence of Sound site – https://consequence.net/2021/08/dhani-harrison-interview-all-things-must-pass/
In an August, 2021 promo stunt, the record’s cover art was re-created on grounds of the garden at Duke of York Square in London – https://www.nme.com/news/music/george-harrisons-all-things-must-pass-cover-art-recreated-with-giant-garden-gnomes-3022553 , with a nice video of the set’s construction shared on YouTube – https://youtu.be/JwWroDWtIj8
In 2021, BBC Radio 4 distributed a program about the 50th Anniversary package titled “All Things Must Pass at 50” – https://www.bbc.co.uk/programmes/m000pljn
Hosted by Nitin Sawhney, the show featured interviews with Olivia Harrison, Michael Palin, Jools Holland, biographers Graeme Thomson and Joshua M. Greene, keyboard player Bobby Whitlock, drummer Alan White and guitarist Dave Mason.
Except as noted, all images featured in this story are Copyright 1970 – 2022 by G.H. Estate Ltd. – All rights reserved – and are used with the author’s permission for the purposes of illustrating this article. Except as noted, all other text Copyright 2022 – Mike Goldstein, AlbumCoverHallofFame.com (www.albumcoverhalloffame.com) – All rights reserved.