• 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 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 17 on “The Beatles – White Album“

JOHN 1972: “Me. Yoko helped me with this one.”

JOHN 1980: “Julia was my mother. But it was sort of a combination of Yoko and my mother blended into one. That was written in India… We wrote tons of songs in India.”

PAUL circa-1994: “The interesting thing for me on ‘Julia’ is the finger-picking (guitar) style. He learned to fingerpick off Donovan or Gypsy Dave… That was John’s song about his mum, folk finger-picking style, and a very good song.”

About “Julia”

“Julia” is a poignant ballad featured on968 double album, “The Beatles” (known as “the White Album“). Notably, this piece is a solo endeavor by John Lennon, and it holds a special place as a tribute to his late mother, Julia Lennon, who passed away at the age of 44 in 1958. Positioned as the closing masterpiece on side two (or disc one on CD) of “The Beatles,” “Julia” also holds the distinction of being the final recording completed for the album. In 1976, it was released as the B-side to the Beatles’ single, “Ob-La-Di, Ob-La-Da.”

Compositionally, “Julia” is written in the key of D major and showcases Lennon’s emotive vocals accompanied by the soothing strums of his acoustic guitar. The genesis of this heartfelt creation took place during the Beatles’ transformative stay in Rishikesh, northern India, where they were under the tutelage of the Maharishi Mahesh Yogi. Here, Lennon learned the intricate finger-picking style known as ‘Travis-picking’ from the skilled Scottish musician, Donovan.

Recalling the origins of “Julia,” Donovan shared that Lennon approached him with a desire to craft a song in homage to his mother. Lennon conveyed his yearning for a song that captured the childhood he never truly experienced with her. Together, they delved into crafting evocative imagery, with John envisioning a serene beach scene where he and his mother strolled hand in hand. Donovan’s contribution included lines like “Seashell eyes / windy smile,” evoking the whimsical ambiance reminiscent of Lewis Carroll’s beloved “Alice in Wonderland,” a world John cherished deeply.

In a unique twist, “Julia” stands as a testament to Lennon’s singular artistry, as no other member of the Beatles contributed vocally or instrumentally to this piece. While Paul McCartney had previously produced “solo” recordings attributed to the group, including his iconic composition “Yesterday,” this song marks the only instance where Lennon delivered both vocals and guitar unaccompanied by fellow Beatles. Remarkably, this tender ballad came to fruition as the final addition to the extensive recording sessions for “The Beatles.”

Meaning of “Julia”

“Julia” serves as a tribute to John’s mother, Julia Lennon, who passed away when he was just 17 years old. The lyrics reflect John’s feelings of loss, longing, and a deep sense of connection to his mother’s memory.

The song’s lyrics convey a mixture of love, pain, and a yearning to be close to his mother once more, even though she has passed away. Throughout the song, John expresses a sense of emotional vulnerability, revealing the profound impact his mother had on his life.

“Julia” is an intimate and personal composition that offers listeners a glimpse into John Lennon’s emotional world, showcasing his ability to turn his personal experiences into heartfelt and relatable music.

Personnel

• John Lennon – double-tracked vocal, double-tracked acoustic guitar

• 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 16 on “The Beatles – White Album“

PAUL 1968: “We’re not just completely rock & roll. We’re not just completely one kind of group. ‘Cuz like, when we played in Hamburg, we didn’t just do rock all evening ‘cuz we had to have these sort of fat old businessmen coming in and saying… (jokingly) or THIN old businessmen, as well, were coming in and saying ‘Play a mambo. Can you do a rhumba?’ And we couldn’t just keep saying no, you know, so we had to get into mambos and rhumbas a bit. So this kind of thing is like a pretty sort of smootchy ballad– ‘I Will.’ I don’t know if it’s getting off the subject, but that’s why there’s great variety in this LP– ‘cuz in everything we do, you know, we just haven’t got one bag, you know. And ‘cuz on one hand you’ll get something like ‘I Will’ and then you’ll get ‘Why Don’t We Do It In The Road,’ you know. Just completely different things– completely different feelings… But it’s me singing both of them. It’s the same fella. Uhh, and I’ve wrote both of them, you know. So you can’t explain it. I don’t know why I do ‘Why Don’t We Do It In The Road’ shouting it like that… and then do this sort of smootchy laughing American ‘Girl From Ipenema.’”

PAUL circa-1994: “I was doing a song, ‘I Will,’ that I had as a melody for quite a long time but I didn’t have lyrics to it. I remember sitting around (in India) with Donovan, and maybe a couple of other people. We were just sitting around one evening after our day of meditation and I played him this one and he liked it, and we were trying to write some words. We kicked around a few lyrics, something about the moon, but they weren’t very satisfactory and I thought the melody was better than the words… it’s still one of my favorite melodies that I’ve written. You just occasionally get lucky with a melody and it becomes rather complete and I think this is one of them– quite a complete tune.”

About “I Will”

“I Will” is featured on their 1968 double album famously known as White Album. Penned by Paul McCartney (credited to Lennon–McCartney), the track showcases McCartney’s mastery on lead vocals, guitar, and “vocal bass.”

“I Will” emerged during the Beatles’ creative sojourn in Rishikesh, India, along with their collaborators. While the music took shape smoothly, the lyrics underwent refinement in India and remained incomplete even as recording commenced back in London. McCartney reminisced about crafting a set of lyrics with a “moon” motif alongside Donovan, but ultimately found them unsatisfactory. He replaced them with “simple words, straight from the heart.”

Apple Records unveiled “The Beatles” on 22 November 1968, positioning “I Will” as the penultimate track on side two, nestled between “Why Don’t We Do It in the Road?” and “Julia.” McCartney, during a Radio Luxembourg interview to promote the release, underscored the album’s diverse musical styles, highlighting “I Will” as a testament to the band’s ability to cater to various genres, reflecting their pre-fame years in Hamburg.

Jonathan Gould characterizes “I Will” as a subtly impactful counterpoint to the suggestive tone of “Why Don’t We Do It in the Road?” Drawing parallels to McCartney’s 1966 composition “Here, There and Everywhere,” Gould observes a perceived lack of genuine emotion, attributing it to the lyrics and musical arrangement. Howard Sounes commends the variety in McCartney’s contributions to the White Album but criticizes “I Will” for its sentimentality, labeling it a cliché.

Jacob Stolworthy, marking the 50th anniversary of the album, ranks “I Will” at an impressive 12 out of 30 tracks on the White Album. He lauds it as a crystalline example of McCartney’s unparalleled ability to craft love songs effortlessly, acknowledging McCartney’s inclusion of it among his personal favorites as a choice difficult to dispute. Notably, the song graced the soundtrack of the 1994 film “Love Affair,” featuring Annette Bening and Warren Beatty.

Meaning of “I Will”

“I Will” is a love song that expresses feelings of devotion, commitment, and enduring affection. The lyrics convey a promise of unwavering love and support for the person to whom the song is addressed. The narrator reassures his loved one that he will always be there, emphasizing a sense of constancy and reliability.

The song’s lyrics convey a sentiment of timeless, enduring love, promising to stand by the person through thick and thin. It embodies a sense of trust and a willingness to weather any storm that may come their way.

Overall, “I Will” is a heartfelt expression of deep and abiding love, encapsulating the enduring nature of a romantic relationship.

Personnel

• Paul McCartney – lead and backing vocals, acoustic guitars, “vocal bass”
• John Lennon – percussion, maracas
• Ringo Starr – bongos, cymbals