The Greatest Oldies Music

Oldies Musics

George Harrison – My Sweet Lord

My Sweet Lord - Wikipedia

About the Song

George Harrison’s 1970 single, “My Sweet Lord,” is more than just a hit song. It’s a spiritual awakening set to music, a heartfelt plea wrapped in catchy melodies and a testament to Harrison’s evolving faith journey after his time with the Beatles.

A Post-Beatles Revelation: Following the disbandment of the Beatles, Harrison embarked on a period of spiritual exploration. “My Sweet Lord” reflects this journey, with lyrics that directly address his newfound devotion to Krishna, a Hindu deity. Lines like “I really want to see you, Lord” and “Hallelujah!” express his yearning for spiritual connection.

Controversy and Legal Battles: The song’s overt religious themes caused a stir upon release. Harrison was accused of plagiarizing the melody from the Ronettes’ “Be My Baby.” While legal issues were eventually resolved, the controversy highlighted the complexities of faith and artistic expression in the pop culture landscape.

A Blend of Pop Sensibility and Spiritual Yearning: Despite the controversy, “My Sweet Lord” is a musical masterpiece. Lush harmonies, courtesy of Harrison, Ringo Starr, and Billy Preston, create a joyous soundscape. The driving drumbeat and catchy guitar riff ensure the song remains accessible to a wide audience, even if the lyrics don’t resonate on a religious level.

A Song for Seekers: “My Sweet Lord” transcends religious boundaries. The song’s core message – a yearning for connection with a higher power or a deeper meaning in life – resonates with anyone who has ever grappled with existential questions. The song offers solace and a sense of hope for those on a spiritual quest.

A Legacy of Exploration: “My Sweet Lord” stands as a testament to George Harrison’s artistic courage and his willingness to explore his faith openly through music. The song’s enduring popularity speaks to its ability to connect with listeners on a spiritual and emotional level, even for those who may not share Harrison’s specific beliefs.

In conclusion, “My Sweet Lord” is more than just a pop song; it’s a spiritual journey documented in music. With its blend of catchy melodies, heartfelt lyrics, and a touch of controversy, the song continues to resonate with listeners, offering a glimpse into George Harrison’s personal faith and serving as a reminder of our universal search for meaning and connection.George Harrison's 'My Sweet Lord' Gets An LA-Filmed Music Video 50 Years Later | LAist

Video 

Lyrics: My Sweet Lord

My sweet Lord
Hm, my Lord
Hm, my LordI really want to see you
Really want to be with you
Really want to see you Lord
But it takes so long, my LordMy sweet Lord
Hm, my Lord
Hm, my LordI really want to know you
Really want to go with you
Really want to show you Lord
That it won’t take long, my Lord (Hallelujah)

My sweet Lord (Hallelujah)
Hm, my Lord (Hallelujah)
My sweet Lord (Hallelujah)

I really want to see you
Really want to see you
Really want to see you, Lord
Really want to see you, Lord
But it takes so long, my Lord (Hallelujah)

My sweet Lord (Hallelujah)
Hm, my Lord (Hallelujah)
My, my, my Lord (Hallelujah)

I really want to know you (Hallelujah)
Really want to go with you (Hallelujah)
Really want to show you Lord (ahh)
That it won’t take long, my Lord (Hallelujah)

Hmm (Hallelujah)
My sweet Lord (Hallelujah)
My, my, Lord (Hallelujah)

Hm, my Lord (Hare Krishna)
My, my, my Lord (Hare Krishna)
Oh hm, my sweet Lord (Krishna, Krishna)
Oh-uuh-uh (Hare Hare)

Now, I really want to see you (Hare Rama)
Really want to be with you (Hare Rama)
Really want to see you Lord (ahh)
But it takes so long, my Lord (Hallelujah)

Hm, my Lord (Hallelujah)
My, my, my Lord (Hare Krishna)
My sweet Lord (Hare Krishna)
My sweet Lord (Krishna Krishna)
My Lord (Hare Hare)
Hm, hm (Guru Brahma)
Hm, hm (Guru Vishnu)
Hm, hm (Guru Devo)
Hm, hm (Maheśvaraḥ
My sweet Lord (Guru Sākṣāt)
My sweet Lord (Para Brahma)
My, my, my Lord (Tasmai Srī)
My, my, my, my Lord (Guru Namah)
My sweet Lord (Hare Rama)

[fade:]

(Hare Krishna)
My sweet Lord (Hare Krishna)
My sweet Lord (Krishna Krishna)
My Lord (Hare Hare)

Related Post

By June 1977, Elvis Presley no longer looked like the unstoppable young man who had shaken America two decades earlier. His health was deteriorating, exhaustion followed him from city to city, and people close to him could see that performing had become increasingly difficult. Yet Elvis continued walking onto the stage. It was not simply because another concert was scheduled. For Elvis, the stage remained one of the few places where the weight of everything else could briefly disappear. Once the lights came up and thousands of voices called his name, something inside him seemed to awaken again.

August 16, 1977 began quietly at Graceland, with no sign that before the day was over, the world would be talking about Elvis Presley in the past tense. He was only 42. Within hours of the news spreading, people began gathering outside the gates. Some brought flowers. Others simply stood there crying beside strangers. What made the scene so powerful was that many of them had never met Elvis. Yet his voice had been present at their first dances, their heartbreaks, their family gatherings, and the private moments when a song somehow understood what they could not put into words. They were mourning someone famous, but the grief felt strangely personal.

There was one person who could make Elvis Presley forget, at least for a moment, that the world called him “The King.” To Lisa Marie Presley, he was simply Daddy. She was born on February 1, 1968, exactly nine months after Elvis and Priscilla’s wedding, and from the beginning she occupied a place in his heart that fame could never touch. Elvis could walk into an arena and hear thousands screaming his name, but those closest to him understood that the small voice calling him “Daddy” meant something entirely different. Lisa was not another part of the Elvis Presley story. She was his child, and his love for her was intensely personal.

You Missed

Country

SOME FRIENDSHIPS ARE WRITTEN IN SONGS… BUT ONLY A FEW BECOME FOREVER. There was something truly magical about the friendship between Kenny Rogers and Dolly Parton — a bond that went far beyond the stage, the spotlight, and the music. In country music history, few duos ever captured the beauty of genuine connection the way they did. Their voices blended perfectly, but it was their friendship, respect, and love for each other that made every performance unforgettable. In 2013, they gave the world one final reminder of that special bond with “You Can’t Make Old Friends.” Nearly three decades after “Islands in the Stream” became a timeless classic, Kenny and Dolly returned together to create a song that felt less like a performance and more like a heartfelt conversation between two lifelong friends. Now, that song carries an even deeper meaning. Kenny Rogers left us in 2020… and today, the world says goodbye to Dolly Parton — two extraordinary souls who brought warmth, comfort, and joy to millions through their music. They were more than country music legends. They were storytellers, dreamers, and reminders that the greatest treasures in life are the friendships we build along the way. You can create many songs. You can create many memories. But **you can’t make old friends.** Some friendships are too special to disappear. They live forever in the melodies, the memories, and the hearts of everyone who was lucky enough to witness them. Rest peacefully, Kenny. Rest peacefully, Dolly. Thank you for giving us a lifetime of music, love, and unforgettable moments. The harmony you created together will continue to play forever.

Country

Long after Waylon Jennings passed away, his wife Jessi Colter often noted how eager people were to fixate solely on his darkest chapters—even though she preferred to remember the redemption that followed. She never sugarcoated how terrifying his intense struggles with drug addiction had been, admitting there came a breaking point where she could no longer stand by helplessly as he consumed himself. Then came the turning point. When Waylon finally summoned the strength to pull himself out of that abyss, Jessi marveled that “he never touched anything again.” He backed up his sobriety with a steadfast vow: “I’m making a mark for the good for the rest of my life.” It was a promise Jessi firmly believed he kept right up until his death on February 13, 2002, at the age of 64. While outsiders loved to replay the outlaw mythology and the roughest years of his past, Jessi’s truest memory was of the man who beat the darkness, walked out into the light, and spent his remaining decades making good on his word.

Country

GEORGE STRAIT PAID A MOVING TRIBUTE TO HIS LIFELONG MENTOR CHARLEY PRIDE, PERFORMING A CLASSIC HIT AND REMINDING THE WORLD THAT STANDING NEXT TO A GIANT ALWAYS MAKES YOU STAND TALLER. More than eight months after the passing of country trailblazer Charley Pride on December 12, 2020, at age eighty-six, fellow icon George Strait took the stage at CMT Giants: Charley Pride to honor a friendship that had spanned over four decades. Recalling how Charley had welcomed him to Nashville when he was still an unknown newcomer, George shared a profound truth: standing next to a true giant makes anyone stand taller. Delivering a heartfelt performance of Charley’s signature hit “Is Anybody Goin’ to San Antone,” George proved that even after achieving his own legendary status, he still carried the deep reverence of the young singer who once looked up to a pioneer.

Country

Before he ever stepped up to center stage under his own name, Cal Smith spent years standing quietly in the shadows as a sideman, playing guitar behind country legend Ernest Tubb. Born Calvin Shofner in Oklahoma and raised in California, he paid his dues in clubs and on radio before joining the Texas Troubadours in the early 1960s, watching other stars soak up the applause while his own solo ambitions moved at a crawl. By 1972, Smith was well into his late thirties with little more than modest chart placings to show for his efforts. Everything flipped when fellow songwriter Bill Anderson handed him “The Lord Knows I’m Drinking,” a sharp track about a man taking heat from a churchgoer whose own hands weren’t exactly clean. The single struck a nerve, shooting straight to No. 1. The true lightning strike arrived soon after. In December 1973, Smith walked into Bradley’s Barn to lay down Don Wayne’s “Country Bumpkin.” Tracing an ordinary man’s journey through marriage, children, and the devastating loss of his wife, the song packed an entire lifetime into a few poignant verses and climbed to the top of the charts in 1974. The accolades poured in, sweeping Single Record and Song of the Year at the ACM Awards, alongside a CMA Song of the Year honor for the writing. Smith quickly proved he wasn’t a one-hit wonder by following up with another chart-topper, “It’s Time to Pay the Fiddler.” After more than a decade of holding down the rhythm section for everyone else, Cal Smith’s long-delayed moment in the sun finally arrived—forever stamping his voice onto one of the defining country anthems of the 1970s.