My idea in "My Sweet Lord," because it sounded like a "pop song," was to sneak up on them a bit. The point was to have the people not offended by "Hallelujah," and by the time it gets to "Hare Krishna," they're already hooked, and their foot's tapping, and they're already singing along "Hallelujah," to kind of lull them into a sense of false security. And then suddenly it turns into "Hare Krishna," and they will all be singing that before they know what's happened, and they will think, "Hey, I thought I wasn't supposed to like Hare Krishna!"
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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)
My voice in combination with the harp - which, by the way, I use because I've played it my entire life, not to make some statement about the harp - somehow has … coloured people's interpretations of the music and projected an idea of childlike or fairytale quality or innocence. Which sometimes prevents people from listening to the songs the way I would like them to be listened to.
The main instinct a lot of the time is to masquerade and hide the truth at all times. Whereas in reality what happens in songs is laying bare the truth. So a lot of time it's fighting that instinct, and the songs become almost confessional. They can also be quite condescending to myself, almost like I'm putting myself down.
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