• Published in 1968
• Author: Harrison
• Track 6 on “Past Masters Volume 2“

PAUL 1968: “Forget the Indian music and listen to the melody. Don’t you think it’s a beautiful melody? It’s really lovely.”

About “The Inner Light”

“The Beatles’ song “The Inner Light,” authored by George Harrison, made its debut on a non-album single in March 1968, serving as the B-side to the iconic “Lady Madonna“. Notably, it marked Harrison’s inaugural solo composition released on a Beatles single. The track bears testament to the band’s deepening engagement with Transcendental Meditation, a practice they were immersing themselves in while studying under Maharishi Mahesh Yogi in India at the time.

Among Harrison’s Beatles-era repertoire, “The Inner Light” stands as one of three compositions strongly influenced by Indian classical music, alongside “Love You To” and “Within You Without You.” Drawing inspiration from a passage in the Taoist Tao Te Ching, Harrison adeptly married these lyrics to music, guided by Sanskrit scholar Juan Mascaró, who had previously translated the passage in his 1957 work, ‘Lamps of Fire.’

During the January 1968 Wonderwall Music soundtrack sessions in Bombay, Harrison embarked on recording “The Inner Light.” This marked a significant milestone, being the band’s maiden studio session outside of Europe. The track boasts an array of traditional Indian instruments, including sarod, shehnai, and pakhavaj. Aashish Khan, Hanuman Jadev, and Hariprasad Chaurasia were among the accomplished musicians contributing to the piece. Apart from Harrison’s distinctive lead vocals, recorded in London, the Beatles’ sole involvement was in providing harmonious backing vocals.

In the ensuing decade, “The Inner Light” assumed a somewhat elusive status in the band’s discography, making sporadic appearances on compilation albums like Rarities, Past Masters, Volume 2, and Mono Masters. Its enchanting melodies and its ability to evoke a meditative ambiance have earned acclaim from numerous music critics and scholars.

A year following Harrison’s passing, Jeff Lynne and Anoushka Shankar paid tribute to the late musician by performing “The Inner Light” at the Concert for George, a poignant testament to the enduring impact of Harrison’s musical legacy.

Meaning of “The Inner Light”

“The Inner Light” is imbued with profound spiritual and philosophical themes. Its title and lyrics hint at a profound exploration of the inner self, a quest for inner serenity and wisdom. Although the song doesn’t deliver a clear narrative or explicit message, it is widely interpreted as an expression of Harrison’s deepening interest in Eastern spirituality, particularly his engagement with Hinduism and meditation.

This composition encapsulates several key elements of its meaning. Firstly, it suggests a yearning to uncover a deeper, inner understanding of life and the universe. The term “The Inner Light” encapsulates a desire to fathom one’s own consciousness and discover a sense of inner tranquility and enlightenment.

Harrison’s profound fascination with Indian philosophy and spirituality, notably the teachings of the Maharishi Mahesh Yogi, significantly influenced the song. Its lyrics incorporate elements of these teachings, conveying a spirit of introspection and self-discovery.

Released in 1968, “The Inner Light” coincided with The Beatles’ sojourn in India to study Transcendental Meditation with Maharishi Mahesh Yogi. As such, the song can be viewed as an artistic expression of the band’s experiences and the insights they gleaned during this transformative period.

While the song draws inspiration from Eastern spirituality, its themes are universal. It resonates with the universal human aspiration to find purpose, inner peace, and a deeper connection to the world and one’s own self.

In essence, “The Inner Light” mirrors George Harrison’s personal spiritual odyssey and his fascination with Eastern philosophy and meditation. Its lyrics encourage listeners to embark on their own journey of self-discovery and seek inner enlightenment and tranquility. The song encapsulates the broader cultural and spiritual exploration that characterized the 1960s, particularly among artists and musicians.

Personnel

The Beatles

• George Harrison – lead vocals, direction
• John Lennon – harmony vocals
• Paul McCartney – harmony vocals

Additional musicians

• Aashish Khan – sarod
• Hanuman Jadev – shehnai
• Hariprasad Chaurasia – bansuri
• Mahapurush Misra – pakhavaj
• Rijram Desad – harmonium
• uncredited – tabla tarang

• Published on 1968
• Author: Lennon/McCartney
• Track 21 on “The Beatles – White Album“

JOHN 1980: “That was just a sort of nice line that I made into a song. It was about me and Yoko. Everybody seemed to be paranoid except for us two, who were in the glow of love. Everything is clear and open when you’re in love. Everybody was sort of tense around us– you know, ‘What is SHE doing here at the session? Why is she with him?’ All this sort of madness is going on around us because we just happened to want to be together all the time.”

About “Everybody’s Got Something to Hide Except For Me and My Monkey”

“Everybody’s Got Something to Hide Except Me and My Monkey” is a song featured on 1968 double album, commonly known as the “White Album.” The song was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. The inspiration for the lyrics came from the teachings of Maharishi Mahesh Yogi, whom the Beatles studied Transcendental Meditation under in India in early 1968. Many of the song’s lines are direct quotations from the Maharishi’s expressions related to meditation. George Harrison noted that, besides the reference to a monkey, the rest of the lyrics were drawn directly from the Maharishi’s teachings.

John Lennon later explained that the song dealt with the initial disapproval he faced from his bandmates regarding his relationship with Yoko Ono. Lennon’s recollection was that, during that period, he and Ono were deeply in love and impervious to the concerns and tensions surrounding them. Paul McCartney, however, believed that the song had an alternate meaning, interpreting “monkey” as a reference to heroin, a drug associated with the term. He recalled that Lennon used language related to drug use, which the rest of the band wasn’t as familiar with.

Originally titled “Come on, Come on” by Lennon, an early demo of the song was recorded at George Harrison’s Esher home in May 1968. This version featured acoustic guitars and percussion and had a more relaxed style compared to the final version on the White Album. The Beatles recorded the final version during the sessions for the White Album. Ian MacDonald, a music critic, noted that this recording marked Lennon’s return to a more rock-oriented sound after the band’s psychedelic phase. The basic track was worked on at EMI Studios on June 26, but those takes were ultimately discarded in favor of a new recording the following day. This marked the Beatles’ first full group session in a while, as George Harrison had been in California filming a documentary, and Ringo Starr had accompanied him to escape tensions within the band.

Harrison’s time away had led to his renewed commitment to the guitar, which was evident in his contribution of a dynamic lead guitar part to “Everybody’s Got Something to Hide Except Me and My Monkey.” The final recording also included overdubs like handclaps, background shouting, an additional snare drum, and a second bass part by Paul McCartney. The recording was slightly sped up during production, raising the song’s key from D major to E major. Stereo mixing was completed on October 12.

Overall, “Everybody’s Got Something to Hide Except Me and My Monkey” is a significant track in the Beatles’ catalog, representing a shift in their musical style during 1968, and offering insight into John Lennon’s personal life and relationships during that time.

Meaning of “Everybody’s Got Something to Hide Except Me and My Monkey”

The meaning of “Everybody’s Got Something to Hide Except Me and My Monkey” has been the subject of much speculation and interpretation. John Lennon, who wrote the song, offered some insights into its meaning.

In interviews and statements, Lennon explained that the lyrics reflected the sense of isolation he and Yoko Ono felt at the time. He felt that he and Ono were in a state of blissful love, seemingly immune to the concerns or judgments of others. The “monkey” in the title is often considered to be a metaphor for the private and unique relationship between Lennon and Ono. It represented a kind of sanctuary or refuge from the outside world.

However, there are other interpretations. Paul McCartney, for instance, believed that the term “monkey” could be a reference to heroin, a drug that was unfortunately prevalent in the music scene at the time. In this context, the song might be expressing Lennon’s sense of detachment from or indifference to the struggles and vices of others.

The ambiguity of the lyrics and the various interpretations offered by Lennon, McCartney, and other band members contribute to the enduring fascination and mystery surrounding this song. Ultimately, the true meaning might be open to personal interpretation and may vary depending on the listener’s perspective and experiences.

Personnel

• John Lennon – double tracked lead vocal, rhythm guitar, handclaps
• Paul McCartney – backing vocal, bass, second bass, hand bell, chocalho, handclaps
• George Harrison – backing vocal, lead guitar, handclaps
• Ringo Starr – drums, handclaps

Published on 1968
Author: Lennon/McCartney
Track 19 on “The Beatles – White Album“

JOHN 1980: “‘Yer Blues’ was written in India, too. Up there, trying to reach God and feeling suicidal.”

About “Yer Blues”

“Yer Blues” is a song featured on Beatles’ 1968 double album known as White Album. Although officially credited to Lennon-McCartney, it was solely written and composed by John Lennon during their stay in Rishikesh, India. This track serves as a satirical take on the blues genre, specifically parodying British interpretations of blues music.

In the song, Lennon reflects on his own struggles and emotional state during his time in India, aiming to create a blues composition despite his uncertainty in matching the authenticity of original blues artists. “Yer Blues” incorporates references to Bob Dylan’s “Ballad of a Thin Man” and Robert Johnson’s “Hellhound on My Trail,” playfully incorporating elements of blues with tongue-in-cheek guitar solos and rock-inspired swing blues segments.

The song playfully acknowledges the surge of British blues in 1968 and the debate surrounding whether white musicians could authentically perform blues. Some interpret the lyrics, particularly the line “If I ain’t dead already, girl you know the reason why,” as a humorous commentary on the ambiguity of bluesy poetics.

Musically, the song is in E major but includes accidentals such as G♮, D♮, and B♭, which are typical in blues compositions. It employs a 6/8 time signature, though, as with many of Lennon’s compositions, the time signature and tempo undergo frequent alterations.

“Yer Blues” was recorded in a small annex of EMI Studio Two, lending a live and stripped-down quality to the track. This recording environment, reminiscent of the Beatles’ early performances, contributed to the raw, bluesy feel of the song.

In a live performance, Lennon presented an extended rendition of “Yer Blues” with a supergroup called “The Dirty Mac,” featuring Eric Clapton, Keith Richards, and Mitch Mitchell. This performance marked a significant moment for Lennon, as it was his first live appearance since the Beatles’ last concert in 1966.

In retrospect, “Yer Blues” is celebrated for its successful blend of Lennon’s personal struggles and blues influences, showcasing Lennon’s ability to authentically engage with the genre. Jacob Stolworthy of The Independent ranks “Yer Blues” highly among the tracks on the White Album, highlighting its standing among the blues classics that inspired it.

Meaning of “Yer Blues”

“Yer Blues” by The Beatles, written by John Lennon, is a song that explores feelings of despair, isolation, and a yearning for connection. It was composed during the band’s stay in Rishikesh, India, where they were studying transcendental meditation. The song reflects Lennon’s struggles with his mental and emotional state during this period.

In “Yer Blues,” Lennon expresses a sense of hopelessness and contemplates mortality, suggesting a feeling of being on the edge. The lyrics, “If I ain’t dead already, girl you know the reason why,” convey a sentiment of deep melancholy and perhaps even a cry for help or understanding.

The song is a parody of the blues genre, specifically the British interpretations of American blues music. While Lennon admired original blues artists, he felt unsure about his ability to authentically reproduce their style. As a result, “Yer Blues” combines elements of blues with a touch of satire, incorporating tongue-in-cheek guitar solos and rock-inspired swing blues segments.

The track also playfully acknowledges the booming popularity of British blues in the late 1960s and the debate over whether white musicians could truly capture the essence of the genre.

Overall, “Yer Blues” is a complex piece that delves into the depths of Lennon’s emotional state at the time, using the blues as a medium to convey his inner turmoil and longing for connection. The song stands as a testament to Lennon’s ability to infuse personal struggles into his music while maintaining a satirical edge.

Personnel

• John Lennon – vocals, electric guitar
• Paul McCartney – backing vocal, bass
• George Harrison – electric guitar
• Ringo Starr – drums

• Published on 1968
• Author: Lennon/McCartney
• Track 22 on “The Beatles – White Album“

JOHN 1980: “That was inspired by Maharishi. I wrote it when we had our bags packed and we’re leaving. It was the last piece I wrote before I left India. I just called him, ‘Sexy Sadie,’ instead of (sings) ‘Maharishi what have you done, you made a fool…’ I was just using the situation to write a song, rather calculatingly but also to express what I felt. I was leaving the Maharishi with a bad taste. You know, it seems that my partings are always not as nice as I’d like them to be.”

About “Sexy Sadie”

“Sexy Sadie” is a song from 1968 double album commonly known as the “White Album“. It was primarily written by John Lennon and credited to the songwriting partnership of Lennon–McCartney. The song’s title was initially “Maharishi”, but Lennon changed it after becoming disillusioned with Maharishi Mahesh Yogi, their spiritual teacher in India.

During their stay in Rishikesh, India in early 1968, the Beatles studied Transcendental Meditation under Maharishi Mahesh Yogi. However, Lennon and some other members of the band became disillusioned with the Maharishi due to allegations of improper conduct. This led to Lennon penning “Sexy Sadie” as an expression of his disappointment and frustration.

The recording of “Sexy Sadie” took place during the sessions for the White Album. Musically, it features a relatively simple arrangement with Lennon on lead vocals and piano, Paul McCartney on bass, George Harrison on guitar, and Ringo Starr on drums. The song showcases Lennon’s ability to channel personal emotions into his music, creating a poignant piece with a distinctive melody and memorable lyrics.

“Sexy Sadie” remains a notable track in the Beatles’ catalog, not only for its musical quality but also for its candid expression of Lennon’s disillusionment with the Maharishi. It provides a glimpse into the band’s experiences in India and the complex dynamics surrounding their spiritual journey at that time.

Meaning of “Sexy Sadie”

The lyrics of the song express Lennon’s disappointment and anger towards the Maharishi for not living up to the spiritual ideals he purportedly taught. The lines “Sexy Sadie, what have you done? / You made a fool of everyone” reflect Lennon’s feeling of betrayal. The use of “Sexy Sadie” as a pseudonym for the Maharishi added a layer of irony, emphasizing the contrast between the spiritual leader’s supposed wisdom and his perceived hypocrisy.

The song can be seen as a form of catharsis for Lennon, a way of processing his feelings of disillusionment and expressing his disappointment in someone he had initially respected and trusted.

Personnel

• John Lennon – lead and backing vocals, rhythm guitar
• Paul McCartney – backing vocals, piano, bass guitar, Hammond organ, guitar
• George Harrison – backing vocals, lead guitar, tambourine
• Ringo Starr – drums

• Published on 1968
• Author: Lennon/McCartney
• Track 15 on “The Beatles – White Album“

JOHN 1972: “Paul. One of his best.”

JOHN 1980: “That’s Paul. He even recorded it by himself in another room. That’s how it was getting in those days. We came in, and he’d made the whole record. Him drumming, him playing the piano, him singing. But he couldn’t… maybe he couldn’t make the break from the Beatles. I don’t know what it was, you know. I enjoyed the track. Still I can’t speak for George, but I was always hurt when Paul would knock something off without involving us. But that’s just the way it was then.”

PAUL 1981: “There’s only one incident I can think of, which John has publically mentioned. It was when I went off with Ringo and did ‘Why Don’t We Do It In The Road.’ It wasn’t a deliberate thing, John and George were tied up finishing something, and me and Ringo were free, just hanging around, so I said to Ringo, ‘Let’s go and do this.’ I did hear John some time later singing it. He liked the song, and I suppose he wanted to do it with me. It was a very John sort of song anyway. That’s why he liked it, I suppose. It was very John, the idea of it, not me. I wrote it as a ricochet off John.”

About “Why Don’t We Do it In The Road?”

“Why Don’t We Do It in the Road?” is featured on 968 double album, commonly known as “White Album.” Authored and performed by Paul McCartney, it is officially credited to Lennon–McCartney. With a duration of 1 minute and 42 seconds, the song follows a twelve-bar blues structure, marked by a unique blend of percussive elements and McCartney’s progressively lively vocals.

Background Inspiration struck McCartney in Rishikesh, India, during a retreat with the Maharishi Mahesh Yogi. Observing monkeys copulating in the street, he marveled at the simplicity of their natural act compared to the complexities of human relationships. Reflecting on the incident, McCartney noted the stark contrast between the ease of animal procreation and the challenges humans face.

When asked about the inspiration behind the song, McCartney humorously remarked in a 2001 interview with NPR’s Terry Gross that it likely stemmed from primal, sexual feelings.

Recording On October 9, 1968, while Lennon and Harrison worked on other tracks, McCartney recorded five takes of the song at EMI Studios. Initially, it started as an acoustic guitar piece, with McCartney alternating between gentle and assertive vocal styles. On this first night, McCartney played all the instruments himself. This version can be found on the Beatles’ Anthology 3.

The following day, McCartney and Ringo Starr completed the song, with Starr adding drums and handclaps, while McCartney contributed more vocals, bass guitar, and lead guitar. Lennon and Harrison were occupied with overseeing string overdubs for other tracks.

Lennon’s Reaction Upon learning that McCartney recorded the song without him, Lennon expressed dissatisfaction, feeling left out of the creative process. He discussed this in a 1980 interview with Playboy, expressing both enjoyment of the track and a sense of hurt that McCartney worked on it independently.

Legacy In a retrospective ranking of the White Album‘s tracks, Jacob Stolworthy of The Independent placed “Why Don’t We Do It in the Road?” at number 27. He noted it as essentially a Paul McCartney track, given that he recorded it alone, with its inspiration drawn from a vivid scene in India.

The song was later covered by American blues singer Lowell Fulson in 1969, featuring additional lyrics not present in the Beatles’ original version. This rendition was featured on the soundtrack of the 2007 film American Gangster.

Meaning of “Why Don’t We Do it In The Road?”

“Why Don’t We Do It in the Road?” is a song that carries multiple layers of meaning. On the surface, the title suggests a straightforward and suggestive proposition, evoking thoughts of intimacy. However, its deeper significance emerges from its origin. The song can be interpreted as a commentary on the uncomplicated nature of animal instincts in comparison to the complexities of human emotions, relationships, and societal norms. McCartney marvels at how animals engage in procreation without the baggage of human thought and societal constraints.

Metaphorically, the song could be advocating for spontaneity and living in the moment, without overthinking or worrying about consequences. It may encourage a carefree, unrestrained approach to life. Some listeners also interpret the song as a rebellious statement against societal norms and expectations, suggesting a desire to break free from conventional constraints.

Musically, the song represents a departure from the Beatles’ typical compositions. Its raw, bluesy style and repetitive lyrics signify a departure from their usual sophisticated arrangements, showcasing their willingness to experiment with different genres and styles. The fact that McCartney recorded the song by himself, playing all the instruments, could symbolize a desire for a more intimate, personal musical expression.

In essence, “Why Don’t We Do It in the Road?” is a song that invites a range of interpretations. Its meaning is subjective, shaped by McCartney’s inspiration from observing nature and his desire to capture a sense of simplicity and spontaneity, contributing to the song’s enigmatic appeal.

Personnel

• Paul McCartney – vocals, thumped acoustic guitar, piano, electric guitar, bass, handclaps
• Ringo Starr – drums, handclaps