The Inner Light (song)

"The Inner Light" is a song by the English rock band the Beatles, written by George Harrison. It was released on a non-album single in March 1968, as the B-side to " Lady Madonna". The song was the first Harrison composition to be issued on a Beatles single and reflects the band's embrace of Transcendental Meditation, which they were studying in India under Maharishi Mahesh Yogi at the time of the single's release. After "Love You To" and "Within You Without You", it was the last of Harrison's three songs from the Beatles era that demonstrate an overt Indian classical influence and are styled as Indian pieces. The lyrics are a rendering of chapter 47 from the Taoist ''Tao Te Ching'', which he set to music on the recommendation of Juan Mascaró, a Sanskrit scholar who had translated the passage in his 1958 book '' Lamps of Fire''.

Harrison recorded the instrumental track for "The Inner Light" in Bombay in January 1968, during the sessions for his ''Wonderwall Music'' soundtrack album. It is the only Beatles studio recording to be made outside Europe and introduced Indian instruments such as sarod, shehnai and pakhavaj to the band's sound. The musicians on the track include Aashish Khan, Hanuman Jadev and Hariprasad Chaurasia. Aside from Harrison's lead vocal, recorded in London, the Beatles' only contribution came in the form of group backing vocals over the song's final line. In the decade following its release, the song became a comparative rarity among the band's recordings; it has subsequently appeared on compilation albums such as '' Rarities''; '' Past Masters, Volume Two''; and '' Mono Masters''. It is the only Beatles song to never appear on any official Beatles album.

"The Inner Light" has received praise from several music critics and musicologists for its melodic qualities and its evocation of the meditation experience. Jeff Lynne and Anoushka Shankar performed the song at the Concert for George tribute in November 2002, a year after Harrison's death. An alternative take of the 1968 instrumental track was released in 2014 on the remastered ''Wonderwall Music'' CD. Screenwriter Morgan Gendel named a 1992 episode of the television series '' Star Trek: The Next Generation'' as an homage to the song. In 2020, Harrison's Material World Foundation announced The Inner Light Challenge, an initiative to raise funds for the MusiCares COVID-19 Relief Fund, Save the Children and Médecins Sans Frontières in response to the COVID-19 pandemic.

Background and inspiration

In his autobiography, ''I, Me, Mine'', George Harrison recalls that he was inspired to write "The Inner Light" by Juan Mascaró, a Sanskrit scholar at Cambridge University. Mascaró had taken part in a debate, televised on ''The Frost Programme'' on 4 October 1967, during which Harrison and John Lennon discussed the merits of Transcendental Meditation with an audience of academics and religious leaders. In a subsequent letter to Harrison, dated 16 November, Mascaró expressed the hope that they might meet again before the Beatles departed for India, where the group were to study meditation with their guru, Maharishi Mahesh Yogi. Mascaró enclosed a copy of his book '' Lamps of Fire'', an anthology of religious writings, including from Lao-Tzu's ''Tao Te Ching''. Having stated his admiration for the spiritual message in Harrison's composition "Within You Without You", Mascaró enquired: "might it not be interesting to put into your music a few words of Tao, for example no. 48, page 66 of ''Lamps''?"

Harrison wrote the song during a period when he had undertaken his first musical project outside the Beatles, composing the soundtrack to the Joe Massot-directed film '' Wonderwall'', and continued to study the Indian sitar, partly under the tutelage of Ravi Shankar. When writing "The Inner Light", he made minimal alterations to the translated Lao-Tzu text and used the same title that Mascaró had used. In ''I, Me, Mine'', Harrison says of the changes required to create his second verse:

In the original poem, the verse says "Without going out of ''my'' door, ''I'' can know the ways of heaven." And so to prevent any misinterpretations – and also to make the song a bit longer – I did repeat that as a second verse but made it: "Without going out of your door / You can know all things on earth / Without looking out of your window / You can know the ways of heaven" – so that it included everybody.

After "Within You Without You", "The Inner Light" was the second composition to fully reflect Harrison's immersion in Eastern spiritual concepts, particularly meditation, an interest that had spread to his Beatles bandmates and to the group's audience and peers. The lyrics espouse meditation as a means to genuine understanding. Theologian Dale Allison describes the song as a "hymn" to quietism and comments that, in their attempt to "relativize and disparage knowledge of the external world", the words convey Harrison's enduring worldview. Author John Winn notes that Harrison had presaged the message of "The Inner Light" in an August 1967 interview, when he told New York DJ Murray Kaufman: "The more you learn, the more you know that you don't know anything at all." Writing in his study of Harrison's musical career, Ian Inglis similarly identifies a precedent in the song " It's All Too Much", where Harrison sings: "The more I learn, the less I know."

Composition and musical structure

"The Inner Light" was Harrison's third song in the Indian musical genre, after "Love You To" and "Within You Without You". While those earlier songs had followed the Hindustani (North Indian) system of Indian classical music, as sitar- and tabla-based compositions, "The Inner Light" is closer in style to the Carnatic (or South Indian) temple music tradition. Harrison's progression within the genre reflected his concept for the ''Wonderwall'' soundtrack – namely, that the assignment allowed him to create an "anthology" of Indian music and present a diverse range of styles and instrumentation.

The composition is structured into three instrumental passages separated by two sections of verse. The buoyant mood of the instrumental sections – set to what author Peter Lavezzoli describes as "a raucous 4/4 rhythm" – contrasts with the gentle, meditative portions containing the verses. The contrast is reflected in the lead instruments that Harrison would use on the recording: whereas sarod and shehnai, supported by pakhavaj, are prominent during the musical passages, the softer-sounding bansuri (bamboo flute) and harmonium accompany the singing over the verses, as the sarod provides a response to each line of the vocal. In the last instrumental section, Harrison incorporates the conclusion of Lao-Tzu's poem, beginning with the line "Arrive without travelling".

The melody conforms to the pitches of Mixolydian mode, or its Indian equivalent, the Khamaj thaat. Musicologist Dominic Pedler writes that the tune features unusual tritone intervals, which, together with the musical arrangement, ensure that the song is far removed from standard "pop tunes". In a further departure from Harrison's previous forays into Indian music, both of which made extensive use of single-chord drone, the melody allows for formal chord changes: over the verses, the dominant E major alternates with F minor, before a move to A over the line "The farther one travels the less one knows".

In the opening words ("Without going out"), the melody uses what Pedler terms a "hauntingly modal" G-B-D tritone progression as, within the song's tonic key (of E), the 3rd note heads towards the flat 7th. Musicologist Walter Everett likens this ascending arpeggiation of the diminished triad to a melodic feature in "Within You Without You" (over that song's recurring phrase "We were talking"). "The Inner Light" is an example of Harrison creating ambiguity about the tonic key, a technique that Pedler recognises as a characteristic of Harrison's spiritually oriented songwriting.

Recording

Bombay

Having used London-based Indian musicians from the Asian Music Circle on "Love You To" and "Within You Without You", Harrison recorded "The Inner Light" in India with some of the country's foremost contemporary classical players. In early January 1968, he travelled to His Master's Voice in Bombay to record part of the score for ''Wonderwall'', much of which would appear on his debut solo album, ''Wonderwall Music''. The day after completing the soundtrack recordings, on 13 January, Harrison taped additional pieces for possible later use, one of which was the instrumental track for "The Inner Light". Five takes of the song were recorded on a two-track recorder.

The musicians at the sessions were recruited by Shambhu Das, who had assisted in Harrison's sitar tuition on his previous visit to Bombay, in 1966, and Vijay Dubey, the head of A&R for His Master's Voice in India. According to Lavezzoli and Beatles biographer Kenneth Womack, the line-up on the track was Aashish Khan (sarod), Mahapurush Misra (pakhavaj), Hanuman Jadev (shehnai), Hariprasad Chaurasia (bansuri) and Rijram Desad (harmonium). In Lavezzoli's view, although these instruments are more commonly associated with the Hindustani discipline, the performers play them in a South Indian style, which adds to the Carnatic identity of the song. He highlights the manner in which the sarod, traditionally a lead instrument in North India, is played by Khan: staccato-style in the upper register, creating a sound more typical of acoustic guitar. Similarly, the pakhavaj is performed in the style of a South Indian tavil barrel drum, and the sound of the double-reed shehnai is closer to that of its Southern equivalent, the nagaswaram. The recording includes tabla tarang over the quiet, vocal interludes.

Author Simon Leng refutes the presence of the oboe-like shehnai, however, saying that this part was played on an esraj, a bow-played string instrument. Citing Khan's recollection that he only worked with Harrison in London, Leng also says that the sarod was added to the track later. Rather than esraj, which Leng gives for "The Inner Light" and for ''Wonderwall'' tracks such as "Crying", Harrison used the bow-played tar shehnai during the Bombay sessions, played by Vinayak Vora. As with the ''Wonderwall'' selections recorded at His Master's Voice, Harrison directed the musicians but did not perform on the instrumental track.

London

Harrison completed the song in London during sessions for a new Beatles single, which was intended to cover their absence while the group were in Rishikesh, India, with the Maharishi. Once the Bombay recording had been transferred to four-track tape, Harrison recorded his vocal part for "The Inner Light" on 6 February, at EMI Studios (now Abbey Road Studios). Lacking confidence in his ability to sing in so high a register, he had to be coaxed by Lennon and Paul McCartney into delivering the requisite performance. Two days later, McCartney and Lennon overdubbed backing vocals at the very end of the song, over the words "Do all without doing".

"The Inner Light" was held in high regard by Harrison's bandmates, particularly McCartney, and was selected as the B-side for the forthcoming single. It was the first Harrison composition to appear on a Beatles single, in addition to being the only Beatles studio recording made outside Europe. Everett writes that Lennon's admiration for the track was evident from his subsequent creation of the song " Julia" through "a very parallel process" – in that instance, by adapting a work by Kahlil Gibran. Although Harrison had served as the producer at the Bombay session, only George Martin received a production credit for "The Inner Light".

Release

The song was issued as the B-side of " Lady Madonna" on 15 March 1968 in the UK, with the US release following three days later. While Chris Welch of ''Melody Maker'' expressed doubts about the hit potential of the A-side, ''Billboard'' magazine commented on the aptness of "The Inner Light", given the band's concurrent "meditation spell". ''Cash Box''s reviewer wrote: "Lyrics from the transcendental meditation school and near-Eastern orchestrations on a very interesting coupler that could show sales as strong as Lady Madonna'" In America, the song charted independently on the ''Billboard'' Hot 100 for one week, placing at number 96. In Australia, it was listed with "Lady Madonna", as a double A-side, when the single topped the ''Go-Set'' national chart.

In the description of author and critic David Quantick, whereas "Lady Madonna" represented a departure from the Beatles' psychedelic productions of the previous year, "The Inner Light" was an "accurate indication" of the group's mindset in Rishikesh. Paul Saltzman, a Canadian film-maker who had been inspired by the Beatles' adoption of Indian musical and philosophical themes, joined the band at the Maharishi's ashram

HOME


Content is Copyleft
Website design, code, and AI is Copyrighted (c) 2014-2017 by Stephen Payne


Consider donating to Wikimedia



As an Amazon Associate I earn from qualifying purchases