adds, with reference to the chorus: "The lyrics are given greater depth by the double meaning of without – 'in the absence of' and 'outside' – each of which is perfectly applicable to the song's sentiments." Production Recording Harrison recorded "Within You Without You" for the Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album based around Paul McCartney's vision of a fictitious band that would serve as the Beatles' alter egos after their decision to quit touring. Harrison had little interest in McCartney's concept; he later admitted that, following his return from India, "my heart was still out there", and working with the Beatles again "felt like going backwards". He presented the song after it was decided to exclude his composition "Only a Northern Song", which the Beatles recorded in February 1967. In contrast to his prominence as a songwriter on Revolver, "Within You Without You" was Harrison's sole composition on Sgt. Pepper. The recording features musical contributions from only Harrison, Beatles aide Neil Aspinall, and a group of London-based Indian musicians. As with his Indian accompanists on "Love You To", Harrison sourced these contributors through the Asian Music Circle in north London. Harrison missed a Beatles recording session to attend one of Shankar's London concerts, an absence that served as part of his preparation for recording "Within You Without You". MacDonald describes the song as "Stylistically ... the most distant departure from the staple Beatles sound in their discography". The basic track was recorded on 15 March 1967 at EMI's Abbey Road studio 2 in London. The participants sat on a carpet in the studio, which was decorated with Indian tapestries on the walls, with the lights turned low and incense burning. Harrison and Aspinall each played a tambura, while the Indian musicians contributed on tabla, dilruba and tambura. Musicologist Michael Hannan comments that, relative to standard Indian practice, the use of three tamburas produces "a denser-than-usual, pulsating jivari" (or "buzzing sound"), highlighting the naturally rich harmonics of the instrument. The session was also attended by Lennon, artist Peter Blake, and John Barham, an English classical pianist and student of Shankar who shared Harrison's desire to promote Indian music to Western audiences. In Barham's recollection, Harrison "had the entire structure of the song mapped out in his head" and sang the melody that he wanted the dilruba player to follow. The twin hand-drums of the tabla were close-miked