story involves the title character, who is an ageing spinster, and a lonely priest named Father McKenzie who writes "sermon[s] that no one will hear". He presides over Rigby's funeral and acknowledges that despite his efforts, "no one was saved". The first McCartney composition to depart from the themes of a standard love song, its lyrics were the product of a group effort, with Harrison, Starr, Lennon and the latter's friend Pete Shotton all contributing. While Lennon and Harrison supplied harmonies beside McCartney's lead vocal, no Beatle played on the recording; instead, Martin arranged the track for a string octet, drawing inspiration from Bernard Herrmann's 1960 film score for Alfred Hitchcock's Psycho. In Riley's opinion, "the corruption of 'Taxman' and the utter finality of Eleanor's fate makes the world of Revolver more ominous than any other pair of opening songs could." "I'm Only Sleeping" Author Peter Doggett describes "I'm Only Sleeping" as "Half acid dream, half latent Lennon laziness personified." As with "Rain", the basic track was recorded at a faster tempo before being subjected to varispeeding. The latter treatment, along with ADT, was also applied to Lennon's vocal as he sought to replicate, in MacDonald's description, a "papery old man's voice". For the guitar solo, Harrison recorded two separate lines: the first with a clean sound, while on the second, he played his Gibson SG through a fuzzbox. Beatles biographer Jonathan Gould views the solo as appearing to "suspend the laws of time and motion to simulate the half-coherence of the state between wakefulness and sleep". Musicologist Walter Everett likens the song to a "particularly expressive text painting". "Love You To" "Love You To" marked Harrison's first foray into Hindustani classical music as a composer, following his introduction of the sitar on "Norwegian Wood" in 1965. He recorded the track with only minimal contributions from Starr and McCartney, and no input from Lennon; Indian musicians from the Asian Music Circle provided instrumentation such as tabla, tambura and sitar. Author Peter Lavezzoli recognises the song as "the first conscious attempt in pop to emulate a non-Western form of music in structure and instrumentation". Aside from playing sitar on the track, Harrison's contributions included fuzztone-effected electric guitar. Everett identifies the song's change of metre as unprecedented in the Beatles' work and a characteristic that would go on to feature prominently on Sgt. Pepper. Partly influenced by Harrison's use of LSD, the