"Living in the Material World" is a song by English rock musician George Harrison that was released as the title track of his 1973 album. In the song's lyrics, Harrison contrasts the world of material concerns with his commitment to a spiritual path, and the conflict is further represented in the musical arrangement as the rock accompaniment alternates with sections of Indian sounds. Inspired by Gaudiya Vaishnava teacher A.C. Bhaktivedanta Swami Prabhupada, the song promotes the need to recognise the illusory nature of human existence and escape the constant cycle of reincarnation, and thereby attain moksha in the Hindu faith. The contrasts presented in "Living in the Material World" inspired the Last Supper-style photograph by Ken Marcus that appeared inside the album's gatefold cover, and also designer Tom Wilkes's incorporation of Krishna-related symbolism elsewhere in the packaging.
Harrison references his Beatles past as one of the trappings of the material world and refers by name to each of his three former bandmates. Ringo Starr, the Beatles' former drummer, plays drums on the track, which was recorded in England between October 1972 and February 1973. The rock portions include a slide guitar solo by Harrison, saxophone solos, two drummers, and prominent Hammond organ, while the meditative Indian interludes feature flute, tabla and a rare post-Beatle sitar contribution from Harrison. Jim Horn, Gary Wright and Zakir Hussain are among the other musicians on the recording.
The production and musicianship on the track has received favourable comments from several reviewers. On release, Stephen Holden of Rolling Stone described the song as "an incantatory, polyrhythmic rocker with a falsetto-on-sitar refrain". In addition to providing the title for the Living in the Material World album, it inspired Harrison's choice for a name for his charity, the Material World Charitable Foundation, to which he donated his publishing royalties from the composition. The 2006 reissue of the album includes a film clip of "Living in the Material World", featuring archival footage of the vinyl LP's manufacturing process. Film-maker Martin Scorsese used the song's title for that of his 2011 documentary on the life of George Harrison.
Background
In his 1980 autobiography, I, Me, Mine, George Harrison credits the influence for "Living in the Material World" to A.C. Bhaktivedanta Swami Prabhupada,George Harrison, p. 258. the founder and leader of the International Society for Krishna Consciousness (ISKCON), commonly known as the Hare Krishna movement.Clayson, pp. 210, 247–48. Harrison adds that the song specifically espouses the message that "we are not these bodies, we are in these material bodies in the physical world." His friend Ravi Shankar once observed that Harrison exhibited tyagi, a trait meaning non-attachment or renunciation,Lambert Ramirez, "George Harrison: The not-so-quiet Beatle", philstar.com, 17 March 2014 (retrieved 11 February 2015). a point to which Shankar added: "He had everything – all the wealth, the fame, whatever he wanted. But he was not attached to it ... because he was searching for something much higher, much deeper. It does seem like he already had some Indian background in him [from a previous life]."Olivia Harrison, pp. 11, 244. Harrison later said of life in the material world, referring to the need to break the cycle of rebirth associated with reincarnation:Allison, pp. 79, 84. "The whole point to being here, really, is to figure a way to get out."Tillery, p. 112.Chant and Be Happy, p. 18.
Author Gary Tillery draws parallels between Harrison's approach to "[going] through the motions of living in the material world" and the way someone in the 21st century might play a virtual reality game.Tillery, pp. 105–06. Tillery writes that "what we see and experience during the game is actually an illusion" – or maya in the Hindu belief to which Harrison subscribedAllison, p. 83. – and that "[w]hat does matter in the great scheme of things is to wake up from the dreamlike state we mistake for reality."Tillery, p. 106. Speaking at a 1974 press conference,Badman, p. 136. in reply to whether there was a "paradox" between his spiritualism and the lifestyle of a musician, Harrison conceded: "It is difficult ... You can go to the Himalayas and miss it completely and [yet] be stuck in the middle of New York and be very spiritual ... I think one by one we all free ourselves from the chains that we have chained ourselves to, whatever we're chained to."Anne Moore, "George Harrison on Tour – Press Conference Q&A", Valley Advocate, 13 November 1974; available at Rock's Backpages (subscription required; retrieved 16 December 2013).Steven Rosen, "George Harrison", Rock's Backpages, 2008 (subscription required; retrieved 16 December 2013).
Composition As reproduced in I, Me, Mine, Harrison wrote the lyrics to "Living in the Material World" on portions of a torn-up envelope, which was previously addressed to Terry Doran at Apple Corps in central London, its postmark dated 7 November 1971.George Harrison, p. 259. The song contrasts the world of material things against spiritual concerns.Lindsay Planer, "George Harrison 'Living in the Material World'", AllMusic (retrieved 16 December 2013).Inglis, pp. 40–41. The verses describing the material world are set to rock music, over what author Simon Leng terms Harrison's "favourite 'Get Back' rhythm". The two sections describing the spiritual world serve as the song's middle eightsHuntley, p. 92. and use a more gentle melody backed by Indian instrumentation.Greene, p. 195. In Leng's view, these sections recall Harrison's 1967 composition "Within You Without You". While remarking on how Harrison's lyrics from his 1973 album Living in the Material World "resembled Vedic sutras", author Joshua Greene writes that in the song "Living in the Material World", he "condensed a lengthy passage from the Bhagavad Gita into a dozen simple words".Greene, pp. 194–95.
In the opening verse, Harrison states that he "Can't say what I'm doing here" in the material world,George Harrison, p. 262. an admission that theologian Dale Allison identifies as Kafkaesque until Harrison offers "eschatological hope" with the subsequent line, "But I hope to see much clearer".Allison, p. 67. Harrison then states that he uses his body "like a car / Taking me both near and far".Tillery, p. 111. Author Ian Inglis regards this as an apt metaphor, since human bodies "are merely the vehicles that carry us on our journeys".
Harrison refers to his years as a member of the Beatles. He names his former bandmates John Lennon, Paul McCartney and Ringo StarrDoggett, p. 207. in a verse that introduces a humorous aspect into the narrative:Rodriguez, pp. 34, 156–57.
Inglis comments on Harrison's pun on the word "Richie", which can refer to the Beatles' financial success from 1963 onwards, in the sense of "riches", and to the improvements in musicianship brought about by the arrival of drummer Richard Starkey, also known as Ringo Starr, who replaced Pete Best in late 1962.Schaffner, p. 20. While noting Harrison's "laconic humor" in the song, Leng describes him as "still caught in the yin-yang of his Beatles identity", further to the various "instalments of 'the Beatles soap opera'" that Harrison provided on his 1970 triple album All Things Must Pass.Leng, pp. 85, 91, 130–31.
In the Indian-styled middle eight, Harrison sings about his "sweet memories" of "the spiritual sky" and prays not to "get lost or go astray". Allison writes that Harrison's "true home" is in the mediative spiritual sky, since however impressive his achievements with the Beatles might be to others, they brought him no "meaningful contentment".Allison, pp. 63–64, 149.
After returning to the rock-music setting, Harrison sings of his frustrations in the material world, which rather than satisfying human desires, merely leaves the senses "swelling like a tide".Allison, pp. 61, 149. Tillery writes of Harrison not being immune to "the siren call of the world" despite his spiritual goals; in his autobiography, Harrison refers to 1973–74 as "the naughty period",George Harrison, p. 274. a reaction to the failure of his marriage to Pattie Boyd.Rodriguez, p. 142.
In line with teachings that Harrison had absorbed from both Maharishi Mahesh Yogi in 1967 and the Bhagavad Gita, Allison suggests, the lines "Got a lot of work to do / Try to get a message through" demonstrate "a sort of prophetic self-conception" on the singer's part.Allison, pp. 73–74, 149. In the final verse, Harrison expresses his desire for moksha, or release from the cycle of reincarnation,Allison, pp. 64, 87. with the words: "I hope to get out of this place / By the Lord Sri Krsna's Grace."Tillery, pp. 111–12.
Inglis writes that "Living in the Material World" contrasts not only the physical with the spiritual for Harrison, but also issues such as "past and present, West and East, noise and calm".Inglis, p. 41. Leng notes the irony in the fact that although Harrison's experience with the Beatles "cast him into the material world", his exposure to Eastern philosophy came through that same experience, and thus the Beatles were "both his nemesis and his saviors".Leng, p. 131. While citing the Bhagavad Gita as a significant influence on "Living in the Material World", Allison views the "dualistic anthropology" expressed in the song as "central to [Harrison's] self-conception and worldview".Allison, pp. 25–26. Harrison himself attributed this dualism to his Pisces astrological sign,Olivia Harrison, pp. 10–11, 232. an issue he addresses in the posthumously released "Pisces Fish".Inglis, p. 119.
Production Initial recording From mid 1971, Harrison had been largely sidetracked from his musical career for over a year, through his commitment to the humanitarian aid project that he and Shankar had initiated with the Concert for Bangladesh.Doggett, p. 192.Rodriguez, pp. 93, 137, 155. As a result, Harrison only began recording his second post-Beatles solo album, the highly anticipated follow-up to All Things Must Pass,Schaffner, p. 158. in October 1972.Leng, pp. 123, 124.Badman, p. 83. The Magic Is Here Again and The Light That Has Lighted the WorldAllison, p. 149. were each rumoured to be the title of the new albumBadman, pp. 83, 89. until Apple Records announced it as Living in the Material World.Schaffner, p. 159. Inglis views "Living in the Material World" as an ideal title track for the album, given "the internal dialogue in which he was engaging at the time".Inglis, p. 40. Leng describes Harrison as "a man positively pregnant with vision" following his achievements over the two years since the Beatles' break-up; like author Robert Rodriguez,Rodriguez, pp. 137, 139. Leng considers that a visit Harrison made to India with American musician Gary Wright, in early 1972, was a contributing factor in his artistic ambitions for the album.Leng, pp. 124–25.
Harrison was keen to pare down the production after the Wall of Sound excesses employed by Phil Spector on All Things Must Pass,The Editors of Rolling Stone, p. 180.Rodriguez, pp. 87, 156. and chose to use a small group of backing musicians throughout the sessions.Leng, p. 125.Huntley, p. 90. Aside from himself on electric guitar, the line-up on the basic track for "Living in the Material World" was Nicky Hopkins (piano), Wright (Hammond organ), Klaus Voormann (bass) and Starr and Jim Keltner (both on drums).Spizer, p. 254. Inglis describes the music as "a powerful rock backing", while Leng views "Living in the Material World" as "the one time in his career that Harrison deliberately set out to create a big, showpiece rock number".