genuine emotion. Writing in 1969, author Dave Laing identified "serene desperation" in the song's "attempt at real total contact in any interpersonal context". Author Ian Inglis notes that lines such as "My head is filled with things to say" and "The games begin to drag me down" present in modern-day terms the same concepts regarding interpersonal barriers with which philosophers have struggled since the pre-Socratic period. MacDonald cites the lyrics to the first bridge – "But if I seem to act unkind / It's only me, it's not my mind / That is confusing things" – as an example of Harrison applying an Eastern philosophical approach to difficulties in communication, by presenting them as "contradictions between different levels of being". In Laing's interpretation, the entities "me" and "my mind" represent, respectively, "individualistic, selfish ego" and "the Buddhist not-self, freed from the anxieties of historical Time". In I, Me, Mine, however, Harrison states that, with hindsight, the order of "me" and "my mind" should be reversed, since: "The mind is the thing that hops about telling us to do this and do that – when what we need is to lose (forget) the mind." Further to Laing's reading of the song's message, author and critic Tim Riley deems the barriers in communication to be the boundaries imposed by the anxious, Western concept of time, as Harrison instead "seeks healthy exchange and the enlightened possibilities" offered outside such limitations. According to Riley, "the transcendental key" is therefore the song's concluding lines – "I don't mind / I could wait forever, I've got time" – signifying the singer's release from vexation and temporal restrictions. Recording Untitled at the time, "I Want to Tell You" was the third Harrison composition that the Beatles recorded for Revolver, although his initial submission for a third contribution was "Isn't It a Pity". It was the first time he had been permitted more than two songs on one of the group's albums. The opportunity came about due to Lennon's inability to write any new material over the previous weeks. Exasperated by Harrison's habit of not titling his compositions, Lennon jokingly named it "Granny Smith Part Friggin' Two" – referring to the working title, derived from the Granny Smith apple, for "Love You To". Following Lennon's remark, Geoff Emerick, the Beatles' recording engineer, named the new song "Laxton's Superb" after another variety of apple. The Beatles taped the main