• Published on 1968
• Author: Harrison
• Track 24 on “The Beatles – White Album“

GEORGE 1980: “The ‘you’ in ‘Long Long Long’ is God. I can’t recall much about it except the chords, which I think were coming from (Dylan’s) ‘Sad Eyed Lady Of The Lowlands’– D to E minor, A, and D– those three chords and the way they moved.”

About “Long, Long, Long”

“Long, Long, Long” was written by George Harrison, the group’s lead guitarist, while he and his bandmates were attending Maharishi Mahesh Yogi’s Transcendental Meditation course in Rishikesh, India, in early 1968. Although Harrison later stated that he was addressing God in the lyrics, it is the first of his compositions that invites interpretation as both a standard love song and a paean to his deity.

“Long, Long, Long” originated during a period in which Harrison emerged as a prolific songwriter, coinciding with his return to the guitar after two years of studying the Indian sitar. He based the chord pattern on “Sad Eyed Lady of the Lowlands” by Bob Dylan, while the song’s understated arrangement partly reflects the influence of the Band’s 1968 album Music from Big Pink. The Beatles recorded it in London towards the end of the White Album sessions, which were marked by acrimony among the band members in the fallout to their experiences in Rishikesh. An ambient and meditative ballad, it ends with a partly improvised segment that was inspired by the sound of a wine bottle vibrating on a speaker in the studio.

“Long, Long, Long” has received praise from several music critics. On release, William Mann of The Times rated it the equal of the album’s best Lennon–McCartney compositions; Ian MacDonald later described it as Harrison’s “touching token of exhausted, relieved reconciliation with God” and his “finest moment on The Beatles”. Elliott Smith and Jim James are among the other artists who have recorded or performed the song.

Meaning of “Long, Long, Long”

“Long, Long, Long” is often interpreted as a reflection on Harrison’s spiritual journey and his relationship with God. The lyrics suggest a sense of longing and yearning for a deeper connection or understanding. The repetitive nature of the phrase “long, long, long” in the song’s title and chorus reinforces this feeling of longing.

The song’s haunting and ethereal sound is created through a combination of Harrison’s vocals, acoustic guitar, and the use of a Leslie speaker on the organ, which creates a swirling, atmospheric effect.

Overall, “Long, Long, Long” is considered one of George Harrison’s more introspective and spiritually reflective compositions, reflecting his interest in Eastern philosophy and his personal journey toward a deeper sense of meaning and purpose.

Personnel

The Beatles

• George Harrison – double-tracked lead vocal, acoustic guitars
• Paul McCartney – harmony vocal, Hammond organ, bass guitar
• Ringo Starr – drums

Additional musician

• Chris Thomas – piano

• Published on 1968
• Author: Lennon/McCartney
• Track 20 on “The Beatles – White Album“

PAUL 1968: “It says ‘Born a poor young country boy’ and I was born in Woolton hospital actually– so it’s a dirty lie.”

JOHN 1980: “Paul. That was from a lecture of Maharishi where he was talking about nature, and I had a piece called ‘I’m Just A Child Of Nature,’ which turned into ‘Jealous Guy’ years later. Both inspired from the same lecture of Maharishi.”

PAUL circa-1994: “I seem to remember writing ‘Mother Nature’s Son’ at my dad’s house in Liverpool… I’ve always loved the song called, ‘Nature Boy’ …’Mother Nature’s Son’ was inspired by that song. I’d always loved nature, and when Linda and I got together we discovered we had this deep love of nature in common. There might have been a little help from John with some of the verses.

About “Mother Nature’s Son”

The song was written primarily by Paul McCartney, and credited to Lennon–McCartney. It was inspired by a lecture given by the Maharishi Mahesh Yogi while the Beatles were in India.The same lecture inspired Lennon’s song “Child of Nature”, the tune of which he later re-used for “Jealous Guy”.Although credited to the group, the song was performed by McCartney alone (with a brass arrangement by George Martin), while the other Beatles were working on other “White Album” songs.

According to Paul McCartney he was inspired by Nat King Cole’s song “Nature Boy” he heard growing up. He wrote the song in Liverpool when he visited his father.

McCartney recorded the song during the height of the tensions that marred the sessions for the White Album. On 9 August 1968, he recorded 25 takes singing and playing acoustic guitar simultaneously. Take 24 was perceived to be the best (take 2 later appeared on Anthology 3).

McCartney recorded overdubs of timpani, another guitar, fingers slapping on a book and drums on 20 August, when George Martin’s orchestral contributions were also added. The drums were put halfway down an uncarpeted corridor with the microphones at the far end, resulting in a bongo-like staccato sound.

John Lennon did not play on the recording, but McCartney said he contributed some words to the song in India. When Lennon (who hated McCartney recording without the rest of the band) and Ringo Starr walked into the studio after McCartney had finished, “you could have cut the atmosphere with a knife”, recalled engineer Ken Scott.

Meaning of “Mother Nature’s Son”

The lyrics of “Mother Nature’s Son” evoke a deep connection with nature and celebrate the beauty and simplicity of the natural world. It portrays an individual who finds solace, inspiration, and a sense of belonging in the outdoors. The song conveys a sense of peace and contentment that comes from being in harmony with nature.

The persona in the song is presented as someone who appreciates the natural elements – the mountains, the trees, and the meadows. It’s a song that encapsulates a pastoral and idyllic view of life, drawing on themes of tranquility and oneness with the environment.

Overall, “Mother Nature’s Son” can be seen as a tribute to the restorative and nurturing qualities of the natural world, and it reflects a sentiment of finding a deeper connection and comfort in the embrace of nature.

Personnel

• Paul McCartney – double-tracked vocal, acoustic guitars, timpani, bass drum, book slaps
• Unknown – two trumpets, two trombones

• 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 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

• Published in 1969
• Author: Lennon/McCartney
• Track 3 on “Let It Be“
• Track 27 on “The Beatles 1967-1970” (Blue Album)
• Track 13 on “Past Masters Volume 2“

John Lennon’s quotes about “Across The Universe”

JOHN 1972: “One of my best songs. Not one of the best recordings, but I like the lyrics.”

JOHN 1980: “I was a bit more artsy-fartsy there. I was lying next to my first wife in bed, (song originally written in 1967) you know, and I was irritated. She must have been going on and on about something and she’d gone to sleep– and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song– rather than ‘Why are you always mouthing off at me?’ or whatever, right? …and I’ve sat down and looked at it and said, ‘Can I write another one with this meter?’ It’s so interesting. ‘Words are flowing out like endless rain into a paper cup/ They slither while the pass, they slip away across the universe.’ Such an extraordinary meter and I can never repeat it! It’s not a matter of craftsmanship– it wrote itself. It drove me out of bed. I didn’t want to write it… and I couldn’t get to sleep until I put it on paper… It’s like being possessed– like a psychic or a medium. The thing has to go down. It won’t let you sleep, so you have to get up, make it into something, and then you’re allowed to sleep. That’s always in the middle of the night when you’re half-awake or tired and your critical facilities are switched off.”

About “Across the Universe”

“Across the Universe” is a timeless composition by The Beatles. Penned by John Lennon and officially credited to the Lennon-McCartney songwriting duo, it made its debut on the 1969 charity compilation album ‘No One’s Gonna Change Our World.’ Later, a modified version found its place on Let It Be, marking the band’s final released album and also made its way onto the 1988 compilation Past Masters, Volume Two. The enduring appeal of this song is evident in the numerous covers, including David Bowie’s rendition on his 1975 album ‘Young Americans,’ which boasted contributions from Lennon himself.

The genesis of this poetic masterpiece can be traced back to a night in 1967 when the phrase “words are flowing out like endless rain into a paper cup” came to Lennon after a conversation with his then-wife Cynthia. He recounted the moment: “I was lying next to my first wife in bed, you know, and I was irritated, and I was thinking. She must have been going on and on about something and she’d gone to sleep and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song, rather than a ‘Why are you always mouthing off at me?’ [The words] were purely inspirational and were given to me as boom! I don’t own it you know; it came through like that.”

The song’s structure is elegantly simple: three iterations of a unit comprising a verse, the line “Jai guru deva om,” and the line “Nothing’s gonna change my world,” repeated four times. The lyrics are vividly evocative, painting abstract concepts with tangible images, like thoughts “meandering,” words “slithering,” and undying love “shining.” The title phrase, “across the universe,” punctuates lines at intervals, never fully resolving, always ascending melodically. It concludes on a leading note, leaving the Western musical ear anticipating the tonic, thereby instilling a sense of unresolved anticipation.

In a 1970 interview with Rolling Stone, Lennon held this composition in high regard, deeming it perhaps the finest, most poetic lyric he ever crafted: “It’s one of the best lyrics I’ve written. In fact, it could be the best. It’s good poetry, or whatever you call it, without chewin’ it. See, the ones I like are the ones that stand as words, without melody. They don’t have to have any melody, like a poem, you can read them.”

Meaning of “Across the Universe”

The lyrics of “Across the Universe” are known for their poetic and somewhat abstract quality. The song’s essence was deeply influenced by Lennon’s and The Beatles’ engagement with Transcendental Meditation in the late 1967 to early 1968 period, when the song took form. As a result, he incorporated the mantra “Jai guru deva om” into the piece, serving as a pivotal link to the chorus. The Sanskrit phrase holds rich, multifaceted meanings, ranging from “Victory to God divine” to “Hail to the divine guru.” It was a phrase frequently invoked by the late Maharishi Mahesh Yogi, referring to his spiritual mentor, “All glory to Guru Dev.”

The song evokes a sense of cosmic and transcendental imagery, with phrases like “Words are flowing out like endless rain into a paper cup” and “Limitless undying love which shines around me like a million suns.” These lines convey a feeling of boundless and all-encompassing love and inspiration.

The song’s chorus features the repeated refrain of “Nothing’s gonna change my world,” which can be interpreted as an assertion of inner peace and acceptance, regardless of external circumstances.

“Across the Universe” is often seen as a reflection on the interconnectedness of all things, the power of love, and a sense of universal unity. It’s worth noting that John Lennon has mentioned that the song’s lyrics were inspired by a surreal, poetic style, and the imagery was influenced by his experiences with meditation and the writings of Yoko Ono.

The song has been interpreted and appreciated in various ways by different listeners, and its meaning can be quite personal and subjective.

Personnel

(Let It Be version)

• John Lennon – lead vocal, acoustic guitar, electric guitar
• Paul McCartney – piano
• George Harrison – sitar, tambura
• Ringo Starr – maracas, bass drum
• Phil Spector – strings and choir

How to play “Across the Universe” on guitar

John Lennon’s guitar intro in “Across the Universe” is fingerpicked. This technique allows for a softer and more nuanced sound, which suits the meditative and introspective mood of the song.
The following video shows how to play intro and rythm section of “Across the Universe” on guitar:

“Across the Universe” karaoke

If you want to test yourself and sing “Across the Universe” like John Lennon, here is the karaoke version of the song:

• Lyrics of “Across The Universe”

• Published on 1968
• Author: Lennon/McCartney
• Track 10 on “The Beatles – White Album“

JOHN 1980: “‘I’m So Tired’ was me, in India again. I couldn’t sleep, I’m meditating all day and couldn’t sleep at night. The story is that. One of my favorite tracks. I just like the sound of it, and I sing it well.”

PAUL circa-1994: “It has that very special line, ‘And curse Sir Walter Raleigh/ He was such a stupid git.’ That’s a classic line and it’s so John that there’s no doubt who wrote it. I think it’s 100 percent John.”

About “I’m So Tired”

“I’m So Tired” was written primarily by John Lennon, although it is credited to the songwriting partnership of Lennon/McCartney, as was customary for Beatles compositions. Released on November 22, 1968, as part of The Beatles’ self-titled double album commonly known as “The White Album,” the song was recorded during the turbulent sessions for the album at Abbey Road Studios in London. It was recorded on October 8 and 13, 1968, and has a duration of approximately 2 minutes and 3 seconds.

Stylistically, “I’m So Tired” falls under the rock genre, with a somewhat bluesy and reflective quality. It features a distinctive descending bassline and showcases Lennon’s distinctive vocals, accompanied by acoustic guitar and bass, along with subtle background harmonies. “I’m So Tired” is generally well-regarded by both critics and fans. It’s considered one of the standout tracks on “The White Album,” which is often hailed as one of the greatest albums in rock history. Over the years, various artists have covered “I’m So Tired,” attesting to its enduring popularity and influence.

One notable piece of trivia is that there’s a brief snippet of backwards audio at the end of the song. When reversed, it’s John Lennon saying “Paul is a dead man, miss him, miss him,” which was one of the clues in the “Paul is dead” conspiracy theory.

In summary, “I’m So Tired” is a poignant and introspective piece of Lennon’s songwriting and remains an important part of The Beatles’ musical legacy. It provides a glimpse into the personal struggles and emotions of the band members during a particularly significant period in their career.

Meaning of “I’m So Tired”

“I’m So Tired,” expresses feelings of exhaustion, frustration, and insomnia. The lyrics convey a sense of weariness and mental fatigue.

John Lennon, who primarily wrote the song, is believed to have drawn from his own experiences and emotions. It’s widely associated with the period when The Beatles traveled to Rishikesh, India, in 1968 to study Transcendental Meditation with Maharishi Mahesh Yogi. During this time, Lennon, like many of the band members, struggled with meditation and experienced sleeplessness.

The song can be seen as a reflection of the internal and external pressures faced by Lennon during a particularly tumultuous phase of The Beatles’ career. It captures a universal sentiment of feeling drained and worn out, making it relatable to many listeners.

However, it’s important to remember that interpretations of songs can be highly subjective, and the meaning may resonate differently for different individuals.

Personnel

• John Lennon – lead vocal, acoustic guitar, lead guitar, Hammond organ
• Paul McCartney – bass guitar, electric piano, backing vocal
• George Harrison – lead guitar
• Ringo Starr – drums