Beware of Darkness - 2014 Remaster

Beware of Darkness is a profound spiritual warning that serves as a guide for navigating the perils of the material world. Heavily influenced by George Harrison's immersion in Eastern philosophy, specifically the teachings of the Radha Krishna Temple, the song argues that the ultimate goal of life is spiritual enlightenment and that one must be vigilant against the distractions that prevent it.

The central theme revolves around the Hindu concept of Maya (illusion). Harrison warns the listener that the material world is filled with traps designed to ensnare the soul. He categorizes these traps into internal and external dangers. Internally, he warns against "thoughts that linger" and "sadness," suggesting that wallowing in despair is counter-productive to one's spiritual purpose ("that is not what you are here for").

Externally, the song identifies specific archetypes of corruption:

• "Falling Swingers": Often interpreted as shallow pop idols or people caught up in the hedonistic "swinging" culture of the 60s, whose lifestyles are ultimately unstable and destructive.
• "Soft Shoe Shufflers": A metaphor for slippery businessmen, con men, or industry figures who use charm and deceit to manipulate. Given the timing, this is often seen as a reflection of the business struggles surrounding the Beatles' breakup.
• "Greedy Leaders": A critique of politicians who lead people astray for their own gain.

Ultimately, the song contrasts these negative human elements with the innocence of nature (the Atlas Cedars), implying that the natural state of being is simply to "grow," whereas humanity often loses its way in the darkness of ego and illusion.

The song opens with a direct admonition to be vigilant. The narrator warns of "falling swingers"—figures who appear to be in motion or celebrating but are actually collapsing all around the listener. This imagery suggests unstable people or fleeting trends that bring pain, described viscerally as a sensation mingling in one's fingertips. The listener is urged to beware of this encompassing darkness.

The focus then shifts inward. The narrator cautions against "thoughts that linger," specifically the kind of negative, winding rumination that leads to hopelessness in the dead of night. There is a warning against sadness itself, framed as a physical force that can strike and hurt, leaving one sore. The narrator emphasizes that succumbing to this despair is not the purpose of human existence; we are not here to be consumed by sorrow.

Next, the warning turns to deceptive external forces. The listener is told to watch out for "soft shoe shufflers" dancing down the sidewalks. These figures represent slick, manipulative individuals who move effortlessly while the "unconscious sufferer" wanders without direction. Here, the concept of "Maya" (illusion) is explicitly named as the danger to avoid. The final warning targets "greedy leaders" who mislead the populace, taking them down wrong paths. This corruption is contrasted with the purity of nature, represented by "Weeping Atlas Cedars," which simply desire to grow and thrive, unlike the destructive forces of human greed.

Beware of Darkness was written in 1970 during a transformative period in George Harrison's life. Following the breakup of The Beatles, Harrison retreated to his new home, Friar Park, a neo-Gothic Victorian mansion in Henley-on-Thames. During this time, he was deeply involved with the Radha Krishna Temple devotees, some of whom were staying at the estate to help with renovations and spiritual practice.

Harrison famously stated in his autobiography, I, Me, Mine, that the song was written while he had these friends from the temple staying with him. The line "Beware of Maya" was a direct result of their influence and the daily discussions about spiritual illusion. The song was recorded for his triple album, All Things Must Pass.

The recording session featured a stellar lineup of musicians. Notably, Bobby Whitlock (of Derek and the Dominos) played the piano; it was actually the first time Whitlock had ever played piano on a record, as he was primarily an organist. The track also features Eric Clapton and Dave Mason on guitars. Harrison brought a demo of the song to Phil Spector, describing it as "the last one I wrote," indicating it was a late addition to the album's material. The 2014 Remaster is part of the reissue campaign for the Harrison catalog, cleaning up the original tapes to provide a clearer separation of the dense instrumentation while retaining Spector's "Wall of Sound" aesthetic.

The song employs a somewhat irregular rhyme scheme that prioritizes lyrical flow and message over rigid structure, though it often leans into AABB or ABCB patterns in the verses.

• Rhyme Types: Harrison uses a mix of perfect rhymes (e.g., "care" / "darkness" - imperfect context but structural; "more" / "for") and slant rhymes (e.g., "fingertips" / "darkness"). The rhyme of "swingers" with "mingles" and "fingertips" is a loose, assonant connection that keeps the verse fluid.
• Rhythm and Meter: The song is a slow-tempo ballad. The vocal rhythm is conversational and phrasing-focused, allowing Harrison to stretch words like "Beware" for emphasis. The musical rhythm is steady but relaxed, creating a contemplative atmosphere. The bridge breaks the steady flow with a more staccato, urgent delivery ("It can hit you, it can hurt you"), which effectively heightens the tension before resolving back into the melodic verse structure.

Musical Techniques:

• Instrumentation: The song features a rich, layered arrangement typical of the All Things Must Pass era. It utilizes acoustic guitars for texture, a melodic bass line, and distinct percussion. The use of slide guitar, a Harrison trademark, adds a weeping, vocal-like quality that mirrors the "Weeping Atlas Cedars" mentioned in the lyrics.
• Harmony: The chord progression is sophisticated, moving beyond standard rock changes. It uses chromatic descents and unexpected major-to-minor shifts (e.g., the interplay between major chords and their relative minors) to create a sense of tension and release that matches the lyrical warning.
• Vocal Delivery: Harrison's vocal is gentle yet urgent. In the bridge ("It can hit you, it can hurt you..."), his voice rises to the upper register, increasing the emotional intensity and emphasizing the physical pain of sadness.

Literary Techniques:

• Direct Address: The song consistently uses the imperative mood ("Watch out now," "Beware"), creating a direct channel of communication from the singer to the listener, functioning as a teacher or guide.
• Personification: Sadness is personified as an entity that can physically "hit you" and "hurt you," giving an abstract emotion a tangible, dangerous form.
• Imagery: The contrast between the "dead of night" and the "growth" of the cedars creates a visual dichotomy between stagnation/death and life/nature.

Beware of Darkness holds a significant place in George Harrison's legacy as one of his finest songwriting achievements post-Beatles. While not released as a single, it is widely regarded by critics and fans as a standout track on All Things Must Pass.

• Concert for Bangladesh (1971): The song's most famous performance occurred here, where Harrison performed it as a duet with Leon Russell. This version is iconic, showcasing the song's adaptability from a solo reflection to a soulful, gospel-tinged anthem.
• Covers: The song has been covered by numerous artists, reflecting its enduring appeal. Notable versions include those by Spock's Beard (a progressive rock rendition), Sheryl Crow (featuring Eric Clapton and Sting), Marianne Faithfull, and Matthew Sweet & Susanna Hoffs.
• Film & TV: It has been used in various media to evoke a mood of serious contemplation or warning.
• Legacy: It solidified Harrison's identity as the "spiritual" Beatle, capable of translating complex Eastern philosophy into accessible, emotionally resonant Western rock music.

The lyrics are dense with metaphors that contrast spiritual clarity with material confusion:

• Darkness: Represents spiritual ignorance, depression, and the absence of divine light. It is the overarching symbol for everything that distracts the soul from its true purpose.
• Maya: An explicit reference to the Hindu concept of the illusory nature of the physical world. It represents the veil that hides the true reality of the spirit.
• Soft Shoe Shufflers: A metaphor for deception and manipulation. The image evokes a vaudeville dancer or a con artist who moves smoothly and quietly, hiding their true intentions. It represents the slick, superficial aspect of the music industry and business world.
• Falling Swingers: Represents the instability of social climbers or those chasing fleeting trends. The use of "falling" suggests that their rise is temporary and their collapse is inevitable.
• Weeping Atlas Cedars: A powerful image of nature. The specific tree, the Blue Atlas Cedar, is known for its weeping form. Harrison uses this to personify nature as mourning the state of the world, yet possessing a simple, pure intent: "they just want to grow." This contrasts sharply with the complex, destructive agendas of the "greedy leaders."
• Unconscious Sufferer: Represents the average person who is unaware of the spiritual reality, wandering through life without direction ("aimlessly") because they are blinded by Maya.

"Watch out now, take care": This phrase acts as a recurring alert signal at the beginning of verses. It resets the listener's attention, emphasizing that the danger is immediate and constant. It establishes the song's tone as a protective warning rather than a condemnation.

"Beware of...": The titular phrase is the central motif, anchoring every section of the song. By repeating "Beware of," Harrison creates a litany of dangers—Darkness, Sadness, Maya, Greedy Leaders—unifying disparate negative elements under one umbrella of things to avoid for spiritual safety.

"That is not what you are here for": This line in the bridge is crucial as it provides the philosophical counterweight to the warnings. It reminds the listener that their purpose is higher than suffering, reinforcing the spiritual optimism underlying the dark warnings.