Wikipedia - Benutzerbeiträge [de]

Benutzer:Fab4er/Wah-Wah (song)

2017-07-15T03:42:01Z

190.195.195.40: /* Personnel */

{{good article}}
{{Use British English|date=May 2013}}
{{Use dmy dates|date=May 2013}}
{{Infobox song
| Name = Wah-Wah
| Type = Song
| Cover = [[File:George Harrison "Wah-Wah" sheet music.jpg|165px]]
| Caption = Cover of the original [[Chas. H. Hansen Music Corp.|Hansen Publishing]] sheet music for the song
| Artist = [[George Harrison]]
| Album = [[All Things Must Pass]]
| Published = [[Harrisongs]]
| Released = 27 November 1970
| track_no = Side One, Track 3
| Recorded =
| Genre = [[Rock music|Rock]], [[hard rock]]
| Length = 5:35
| Writer = [[George Harrison]]
| Label = [[Apple Records|Apple]]
| Producer = George Harrison, [[Phil Spector]]
| Tracks = {{All Things Must Pass tracks}}
}}
'''"Wah-Wah"''' is a song by English musician [[George Harrison]], released on his 1970 triple album ''[[All Things Must Pass]]''. Harrison wrote the song following his temporary departure from [[the Beatles]] in January 1969, during the troubled [[Let It Be#Concept|''Get Back'']] sessions that resulted in their ''[[Let It Be (film)|Let It Be]]'' album and film. The lyrics reflect his frustration with the atmosphere in the group at that time – namely, [[Paul McCartney]]'s over-assertiveness and criticism of his guitar playing, [[John Lennon]]'s lack of engagement with the project and dismissal of Harrison as a songwriter, and [[Yoko Ono]]'s constant involvement in the band's activities. Music critics and biographers recognise the song as Harrison's statement of personal and artistic freedom from the Beatles. Its creation contrasted sharply with his rewarding collaborations outside the group in the months before the ''Get Back'' project, particularly with [[Bob Dylan]] and [[the Band]] in [[upstate New York]].

Recorded shortly after the Beatles' break-up in 1970, "Wah-Wah" was the first track taped for ''All Things Must Pass''. The recording features a dense production treatment from [[Phil Spector]] and backing from a large cast of musicians including [[Eric Clapton]], [[Ringo Starr]], [[Billy Preston]], [[Bobby Keys]] and the band [[Badfinger]]. On release, ''[[Rolling Stone]]'' magazine described it as "a grand cacophony of sound in which horns sound like guitars and vice versa".<ref name="Gerson/RS" /> While several reviewers find the heavy production appropriate for the song, Harrison considered the recording overproduced and the sound too cluttered.

"Wah-Wah" was the first song Harrison played live as a solo artist when he performed it as his opener for the Western-music portion of [[the Concert for Bangladesh]], in August 1971. Viewed by some commentators as superior to the studio recording, this version re-created Spector's [[Wall of Sound]] treatment in a live setting, using many of the participants from the 1970 album sessions. At the [[Concert for George]] in November 2002, a year after Harrison's death, "Wah-Wah" was performed by an all-star band that included Clapton, [[Jeff Lynne]], Starr and McCartney. [[Ocean Colour Scene]], [[Buffalo Tom]], [[Beck]] and the [[Tedeschi Trucks Band]] are among the other artists who have covered the song.

==Background==
===October–December 1968 US visit===
When discussing the song "Wah-Wah" and [[George Harrison]]'s temporary departure from [[the Beatles]] in January 1969, several commentators note the importance of his recent two-month visit to America, which followed the completion of the band's 1968 double album ''[[The Beatles (album)|The Beatles]]'', commonly known as the White Album.<ref name="Harris p 68" /><ref>Leng, pp. 39–40, 55.</ref><ref name="O'Gorman/Mojo p 73" /><ref>Clayson, pp. 259–60.</ref> In Los Angeles, where he was producing a [[Jackie Lomax]] [[Is This What You Want?|solo album]] for the Beatles' [[Apple Records|Apple]] record label, Harrison directed top session players such as [[Hal Blaine]] and [[Larry Knechtel]],<ref>Miles, p. 313.</ref> and met two American musicians with whom he would soon collaborate in London, [[Delaney Bramlett]] and [[Leon Russell]].<ref>Leng, pp. 62–63.</ref> Later in the US trip, Harrison stayed in [[upstate New York]], where he established a musical bond with [[Bob Dylan]]<ref name="Harris p 68" /> and thrived among what author Simon Leng calls the "group ethic and camaraderie" of [[the Band]].<ref>Leng, pp. 51–53.</ref> Throughout this period, Harrison continued to bloom as a songwriter,<ref name="Lewisohn/Mojo" /> having contributed four songs to ''The Beatles'' that, in the words of author [[Nicholas Schaffner]], "firmly established him as a contender" beside bandmates [[John Lennon]] and [[Paul McCartney]].<ref>Schaffner, p. 115.</ref> In addition, he had recently co-written [[Cream (band)|Cream]]'s single "[[Badge (song)|Badge]]" with [[Eric Clapton]],<ref>The Editors of ''Rolling Stone'', p. 176.</ref> as well as collaborating with Dylan in [[Bearsville, New York|Bearsville]].<ref>Leng, pp. 37–39, 51–54.</ref>

===January 1969 at Twickenham Film Studios===
[[File:Geograph-2065963-by-Christine-Johnstone cropped.jpg|thumb|left|upright|220px|Part of Twickenham Film Studios, in south-west London]]
Harrison later recalled his two months in the United States as having been "such a good time", yet "the moment I got back with the Beatles [for their [[Let It Be#Concept|''Get Back'']] film project], it was just too difficult".<ref>Mitchell Glazer, "Interview with George Harrison", ''[[Crawdaddy!|Crawdaddy]]'', February 1977.</ref><ref name="Huntley p 18">Huntley, p. 18.</ref> These difficulties included having to endure McCartney's habit of dictating how the others should play their instruments<ref>MacDonald, pp. 288–89.</ref><ref>Clayson, p. 261.</ref> and Lennon's increasing withdrawal from the band and emotional dependence on his ever-present partner, [[Yoko Ono]].<ref>MacDonald, p. 301.</ref><ref>Hertsgaard, pp. 250–51, 267.</ref><ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 70.</ref> The couple had recently descended into [[Opioid dependence|heroin addiction]],<ref>MacDonald, p. 246.</ref><ref>Sulpy & Schweighardt, pp. 1–2.</ref><ref>Hertsgaard, pp. 251, 257.</ref> leaving Lennon, in author [[Peter Doggett]]'s words, "emotionally removed and artistically bankrupt".<ref name="Doggett/Mojo p 138">Peter Doggett, "Fight to the Finish", in ''Mojo: The Beatles' Final Years'', p. 138.</ref> In their study of the ''Get Back'' project, Doug Sulpy and Ray Schweighardt write that, as another frustration for Harrison, Lennon and McCartney regularly overlooked his compositions, even when they were "far better than their own".<ref name="Sulpy & Schweighardt p 1">Sulpy & Schweighardt, p. 1.</ref>{{refn|group=nb|The previous year, Lennon and McCartney had similarly shown no interest in recording Harrison's "[[While My Guitar Gently Weeps]]",<ref>The Editors of ''Rolling Stone'', p. 38.</ref><ref>Clayson, pp. 251–52.</ref> a track that author [[Mark Hertsgaard]] has described as "perhaps the single most impressive song on the White Album".<ref>Hertsgaard, p. 252.</ref>}}

On 6 January 1969, the band's third day at [[Twickenham Film Studios]], in south-west London,<ref>Miles, pp. 327–28.</ref> an argument was captured on film where McCartney criticised Harrison's guitar playing on the song "[[Two of Us (song)|Two of Us]]".<ref name="Sulpy & Schweighardt p 51">Sulpy & Schweighardt, p. 51.</ref> A resigned Harrison told him: "I'll play what you want me to play, or I won't play at all if you don't want me to play."<ref name="Miles p 328">Miles, p. 328.</ref><ref>Hertsgaard, p. 267.</ref> With the sessions being recorded by film director [[Michael Lindsay-Hogg]],<ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', pp. 70–71.</ref> tapes reveal Beatles associates [[Neil Aspinall]] and [[George Martin]] sympathising with Harrison's position,<ref name="Huntley p 22">Huntley, p. 22.</ref> recognising that McCartney and Lennon "don't offer him enough freedom within their compositions".<ref name="Sulpy & Schweighardt p 173">Sulpy & Schweighardt, p. 173.</ref> [[Ringo Starr]], who had quit the band briefly during the White Album sessions, partly as a result of McCartney's hectoring of his drumming,<ref>Hertsgaard, pp. 250–51.</ref> recalled of Harrison's refusal to be "dominated" by McCartney any longer: "Paul [typically] wanted to point out the solo to George, who would say, 'Look, I'm a guitarist. I'll play the solo.' And he always did, he always played fine solos."<ref>Ringo Starr, in The Beatles, p. 316.</ref>

{{quote box|quote= I just got so fed up with the bad vibes – and that arguments with Paul were getting put in the film. I didn't care if it was the Beatles, I was getting out.<ref name="White/Musician p 55">Timothy White, "George Harrison – Reconsidered", ''[[Musician (magazine)|Musician]]'', November 1987, p. 55.</ref>|source= – George Harrison to ''[[Musician (magazine)|Musician]]'' magazine, November 1987|width=25%|align=right|style=padding:8px;}}
Over the first three days at Twickenham, Harrison had presented new compositions such as "[[All Things Must Pass (song)|All Things Must Pass]]", "[[Let It Down]]" and "[[Hear Me Lord]]" for consideration;<ref>Spizer, pp. 212, 220, 223.</ref> these and other "numerous beautiful songs", music journalist Martin O'Gorman writes, "received derision and disinterest from Lennon or heavy-handed interference from McCartney".<ref name="O'Gorman/Mojo p 73">Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 73.</ref>{{refn|group=nb|Later in January, the Harrison compositions "[[Something (Beatles song)|Something]]", "[[Old Brown Shoe]]" and "[[Isn't It a Pity]]" were met with more indifference from Lennon and McCartney.<ref>The Editors of ''Rolling Stone'', pp. 38, 39.</ref><ref>Huntley, pp. 18–19.</ref>}} On 8 January, Harrison debuted "[[I Me Mine]]", a song inspired by the bickering and negativity within the band.<ref name="Miles p 328" /><ref name="Greene p 115">Greene, p. 115.</ref> It was met with ridicule by Lennon<ref name="Huntley p 21">Huntley, p. 21.</ref> and an argument ensued between the two musicians, during which Lennon dismissed Harrison's abilities as a songwriter.<ref name="Miles p 328" /> According to Sulpy and Schweighardt, Lennon's resentment was most likely a reaction to Harrison's productivity throughout the sessions, since he himself was "unable to write a decent new song".<ref>Sulpy & Schweighardt, p. 170.</ref>{{refn|group=nb|Music journalist [[John Harris (critic)|John Harris]] observes that in light of Lennon having offered only a "half-finished" "[[Don't Let Me Down (The Beatles song)|Don't Let Me Down]]" and the "pretty execrable" "[[Dig a Pony]]", Harrison must have been "enraged ... all the more".<ref name="Harris p 68" />}} In addition, Harrison had been alone in voicing his objections to Ono's presence,<ref>Huntley, p. 24.</ref> telling the couple how, in Lennon's later recollection, "Dylan and a few people said she's got a lousy name in New York".<ref name="Jackson/RS">Andrew Grant Jackson, [http://www.rollingstone.com/music/news/book-excerpt-george-harrison-realizes-its-time-to-move-on-from-the-beatles-20120817 "Book Excerpt: George Harrison Realizes It's Time to Move On From the Beatles"], [[Rolling Stone|rollingstone.com]], 17 August 2012 (retrieved 29 January 2015).</ref><ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 72.</ref>

On Friday, 10 January, a more severe argument took place in which Harrison berated Lennon for contributing nothing positive to the rehearsals.<ref name="Miles p 328" /> During the lunch break, Harrison walked out of the Beatles, saying that the others should advertise in the ''[[NME]]'' for his replacement.<ref name="O'Gorman/Mojo p 73" /><ref>Sulpy & Schweighardt, pp. 167, 169–70.</ref> He then drove to his home, [[Kinfauns (Surrey)|Kinfauns]], in [[Surrey]], and wrote "Wah-Wah" that same afternoon.<ref name="IMM p 194">George Harrison, p. 194.</ref><ref>Clayson, p. 262.</ref> Despite the animosity between himself and Lennon on the day he quit the group,<ref>Sulpy & Schweighardt, pp. 169–70.</ref><ref name="Huntley p 25">Huntley, p. 25.</ref> Harrison later confirmed a suggestion made by music journalist [[Timothy White (editor)|Timothy White]] that, just like Lennon's "[[How Do You Sleep? (John Lennon song)|How Do You Sleep?]]" and "[[Crippled Inside]]", the song was a "swipe" at McCartney.<ref name="White/Musician p 55" />

===Harrison's return to the Beatles===
{{quote box|quote= It's a festering wound … It's only this year that [George] has realised who he is. And all the fucking shit we've done to him.<ref>Doggett, p. 62.</ref>|source= – Lennon to McCartney, discussing Harrison's departure from the Beatles|width=25%|align=right|style=padding:8px;}}
Harrison's diary records that Lennon and Ono "diverted" him at home over breakfast the following morning,<ref>Dhani Harrison, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 2:52 and 2:58.</ref><ref>Olivia Harrison, pp. 192–93.</ref> but even after a subsequent band meeting at Starr's house, author [[Barry Miles]] writes, their "feud" remained "intractable".<ref name="Miles p 329">Miles, p. 329.</ref> At the meeting, much to Harrison's annoyance, Lennon once more chose to have Ono speak on his behalf.<ref name="Irvin/Mojo">Jim Irvin, "Close to the Edge", ''[[Mojo (magazine)|Mojo]]'', December 2003, p. 82.</ref> Harrison then went to his parents' home in [[Warrington]] for a few days before imposing terms for his return to the band<ref name="O'Gorman/Mojo p 73" /><ref name="Rodriguez p 381">Rodriguez, p. 381.</ref> – namely, that McCartney's plans for a live concert be abandoned and the project be relocated to the Beatles' own [[Apple Studio]], at London's [[Savile Row]].<ref>Miles, pp. 330, 331.</ref> Commentators have remarked on a change in Harrison's standing within the band as a result of his walkout,<ref name="Harris p 68" /><ref>Clayson, pp. 254, 262.</ref><ref>Greene, pp. 116–17.</ref> and later in 1969, Lennon and McCartney would be speaking admiringly of Harrison's growth as a songwriter.<ref name="Lewisohn/Mojo">Mark Lewisohn, "Something Else", in ''Mojo: The Beatles' Final Years'', p. 118.</ref><ref name="Fawcett p 96">Fawcett, p. 96.</ref>{{refn|group=nb|McCartney told Lennon: "Until this year, our songs have been better than George's. Now this year his songs are at least as good as ours ..."<ref name="Fawcett p 96" /> Lennon named Harrison's "Something" as his favourite track on the Beatles' ''[[Abbey Road]]'' album, released in September 1969.<ref name="Lewisohn/Mojo" /><ref>MacDonald, p. 306.</ref>}} In an article for ''[[Mojo (magazine)|Mojo]]'' magazine's July 2001 "Solo Beatles Special", [[John Harris (critic)|John Harris]] wrote that although Harrison "nominally" remained a Beatle, he was "serving out his notice" after 10 January 1969.<ref name="Harris p 68">Harris, p. 68.</ref>

==Composition==
In his autobiography, ''[[I, Me, Mine (book)|I, Me, Mine]]'', Harrison explains that the song title was a reference to "a 'headache' as well as a footpedal",<ref name="IMM p 194" /> the [[wah-wah pedal]] being a guitar effect that he favoured for much of the early ''Get Back'' sessions.<ref>Sulpy & Schweighardt, pp. 63–64, 77.</ref><ref>Winn, p. 250.</ref> The message of the song, according to Harrison, was: "you're giving me a bloody headache."<ref name="White/Musician p 55" /><ref name="Huntley p 55">Huntley, p. 55.</ref> Leng identifies "Wah-Wah" as being directed at the "artifice" and "pretense" surrounding the Beatles.<ref name="Leng p 86">Leng, p. 86.</ref>

{{quote box|quote= There was too much restriction [in the Beatles]. It had to self-destruct … I could see a much better time ahead being by myself, away from the band … It was like a straitjacket.<ref>George Harrison, in The Beatles, p. 348.</ref>|source= – George Harrison, 2000|width=25%|align=left|style=padding:8px;}}
The song is based around an electric guitar [[Ostinato#Riff|riff]] that Leng describes as "snarling".<ref name="Leng p 85" /> Written in the [[key (music)|key]] of E, the tune incorporates chord changes that musicologist [[Wilfrid Mellers]] once admired as "audacious";<ref name=mellers>Mellers, p. 147.</ref> musically, Harrison biographer Elliot Huntley suggests, the composition mirrors the "intense atmosphere" at Twickenham in January 1969.<ref name="Huntley p 54">Huntley, p. 54.</ref> Referring to the released recording, author Ian Inglis views "Wah-Wah" as a [[hard rock]] song where the "forceful rhythm" conveys "the momentum of [Harrison's] anger".<ref name="Inglis p 25" />

Like "[[Run of the Mill (George Harrison song)|Run of the Mill]]", which Harrison also wrote in early 1969, the lyrics touch on the failure of friendships within the band,<ref>Doggett, p. 141.</ref> which in the case of Harrison, McCartney and Lennon dated back to school years.<ref>Leng, p. 94.</ref><ref>[http://www.superseventies.com/ssgeorgeharrison.html "George Harrison – In His Own Words"], superseventies.com (retrieved 3 October 2012).</ref> Harrison later spoke of their familiarity with one another resulting in McCartney, especially, failing to recognise his artistic growth;<ref>Doggett, p. 134.</ref> in ''I, Me, Mine'', he refers to "Wah-Wah" as reflecting "that concept of how everybody sees and treats everybody else, allowing no consideration for the fact that we are changing all the time".<ref name="IMM p 194" />

The second verse reflects Harrison's frustration at being viewed by Lennon and McCartney as subservient to their ambitions, just as his 1968 composition "[[Not Guilty (song)|Not Guilty]]" had found Harrison defending himself for supposedly leading his fellow Beatles "astray" to the [[Maharishi Mahesh Yogi|Maharishi]]'s [[The Beatles in India|meditation retreat in India]].<ref>Huntley, p. 165.</ref><ref>Leng, pp. 33, 38.</ref> In "Wah-Wah", he states sarcastically:<ref name="Inglis p 25" />
{{-}}

{{quote|''You've made me such a big star Being there at the right time Cheaper than a dime ...''}}

Over the song's two [[Thirty-two-bar form#Middle eight|middle eights]], Harrison laments that his bandmates never take the time to notice his sorrow or "''hear me sighing''".<ref name="Inglis p 25">Inglis, p. 25.</ref>

[[File:Kinfauns George Harrison house.jpg|thumb|right|205px|Harrison's Surrey home, [[Kinfauns (Surrey)|Kinfauns]], where he wrote "Wah-Wah" immediately after leaving the Beatles]]
Religious academic Joshua Greene has written of Harrison being "too sure of his life's higher purpose" by January 1969, through his dedication to [[Hinduism|Hindu spirituality]], to continue devoting time to the group's "petty squabbles".<ref name="Greene p 116">Greene, p. 116.</ref> In the song's final verse, Harrison provides what [[AllMusic]] critic Bill Janovitz terms a "simple, spiritual sentiment",<ref name="Janovitz/AMG" /> which serves as a statement of his independence from the Beatles:<ref name="Inglis p 25" /><ref name="Spizer p 222">Spizer, p. 222.</ref><ref name="Bergstrom/PM" />

{{quote|''Now I don't need no wah-wah And I know how sweet life can be If I keep myself free …''}}

"Wah-Wah" was never offered to the Beatles once Harrison joined the proceedings at Apple Studio.<ref>Sulpy & Schweighardt, pp. 331–32.</ref> The choice of Harrison songs that would end up on the ''[[Let It Be]]'' album in May 1970 – "I Me Mine" and "[[For You Blue]]" – has led some authors to speculate that he deliberately withdrew his higher-quality compositions rather than risk having them played without the attention they deserved.<ref name="Harris p 68" /><ref name="O'Gorman/Mojo p 73" /><ref>Huntley, p. 27.</ref> Leng lists "Wah-Wah" among a number of solo Beatles songs that are "self-referential" in their lyrical theme and serve as episodes in what he calls "the Beatles soap opera".<ref name="Leng p 85">Leng, p. 85.</ref>{{refn|group=nb|Doggett similarly recognises the self-referential nature of Harrison songs such as "Wah-Wah", "Run of the Mill" and "Isn't It a Pity", all of which offered Beatles fans "a teasing glimpse into an intimate world that had previously been off-limits to the public".<ref>Doggett, pp. 141–42.</ref> Later examples include Lennon's "[[God (John Lennon song)|God]]"<ref>Doggett, p. 142.</ref> and Harrison's "[[Sue Me, Sue You Blues]]",<ref name="MacDonald p 326">MacDonald, p. 326.</ref> and various tracks on McCartney's ''[[Ram (album)|Ram]]'' album and Lennon's ''[[Imagine (John Lennon album)|Imagine]]'', most notably "[[Too Many People]]" and "How Do You Sleep?"<ref name="Inglis p 25" />}} Harrison's bitterness at the restrictions imposed on him during the Beatles years resurfaced explicitly in "[[Who Can See It]]", a song written in 1972.<ref>Leng, pp. 129–30.</ref><ref>Rodriguez, p. 156.</ref>

==Recording==
McCartney's refusal to have the release of his [[McCartney (album)|eponymous first solo album]] delayed until after ''Let It Be'' led to him announcing his departure from the band on 9 April 1970,<ref>Hertsgaard, p. 285.</ref><ref>Doggett, pp. 121–26.</ref> and to Harrison finally deciding to make an album of his many unused songs from the Beatles' later years.<ref>O'Dell, pp. 155–56.</ref><ref name="Spizer p 220" /> He subsequently described the process of recording his songs with outside musicians as "a breath of fresh air".<ref name="Spizer p 220">Spizer, p. 220.</ref> Shortly before starting work on the album, Harrison gave a radio interview to ''[[The Village Voice|Village Voice]]'' reporter Howard Smith,<ref>Badman, p. 6.</ref> and explained that, although he had some ideological differences with Lennon, his objection to any possible Beatles reunion was based solely on his musical differences with McCartney.<ref name="Smith interview">[http://beatlechat.blogspot.com.au/2012/03/its-really-pity.html "It's Really a Pity"], Contra Band Music, 15 March 2012 (retrieved 4 October 2012).</ref><ref>Doggett, pp. 133–34.</ref>{{refn|group=nb|This situation would remain unchanged during a period in the mid 1970s when the other Beatles all began intimating that they would not be opposed to playing together again.<ref>Hertsgaard, p. 311.</ref><ref>Clayson, pp. 351–52.</ref><ref name="Ingham/NME Orig">Chris Hunt (ed.), ''[[NME|NME Originals]]: Beatles – The Solo Years 1970–1980'', IPC Ignite! (London, 2005), p. 12.</ref> Harrison's aversion to working with McCartney was still apparent before and after the band's ''[[The Beatles Anthology|Anthology]]'' project two decades later.<ref>The Editors of ''Rolling Stone'', p. 48.</ref><ref>Peter Doggett, [http://news.bbc.co.uk/today/hi/today/newsid_8243000/8243561.stm "You Never Give Me Your Money"], [[Today (BBC Radio 4)|BBC Radio 4 ''Today'']], 9 September 2009 (retrieved 13 October 2012).</ref><ref>Rodriguez, pp. 24, 195–96.</ref>}}

[[File:Delaney & Bonnie.png|thumb|right|upright|150px|[[Delaney & Bonnie|Delaney and Bonnie Bramlett]], whose [[Soul music|soul]] revue influenced the sound on "Wah-Wah", after Harrison had toured with them in December 1969]]
In the same 1970 radio interview, Harrison announced that he would be co-producing the album with [[Phil Spector]],<ref name="Smith interview" /> whose work on the ''Let It Be'' album had recently enraged McCartney.<ref>Schaffner, p. 138.</ref><ref>Doggett, pp. 130–31.</ref> "Wah-Wah" was the first song taped for ''[[All Things Must Pass]]'',<ref name="Madinger & Easter p 428">Madinger & Easter, p. 428.</ref> recording for which began at [[Abbey Road Studios]] in late May that year.<ref>Badman, p. 10.</ref> In keeping with Spector's signature production style, a large group of musicians took part in the sessions.<ref name="Schaffner p 142">Schaffner, p. 142.</ref> According to Leng and author [[Bruce Spizer]], the musicians on the track were: Harrison and [[Eric Clapton]] on electric guitars, three members of [[Badfinger]] on acoustic rhythm guitars, [[Billy Preston]] and [[Gary Wright]] on keyboards, the former [[Delaney & Bonnie]] horn section of [[Jim Price (musician)|Jim Price]] and [[Bobby Keys]], bassist [[Klaus Voormann]], Starr on drums, and Badfinger's [[Mike Gibbins]] playing tambourine.<ref name="Leng p 85" /><ref name="Spizer p 222" /> While Leng consulted Voormann, Badfinger's [[Joey Molland]] and orchestral arranger [[John Barham]] for his chapter discussing the recording of ''All Things Must Pass'',<ref>Leng, pp. 79–81, 82fn.</ref> [[Bobby Whitlock]], another former sideman with Delaney & Bonnie,<ref>Clayson, p. 288.</ref> has stated that he played electric piano on "Wah-Wah".<ref>Whitlock, pp. 76, 79.</ref><ref>Nick DeRiso, [https://web.archive.org/web/20140228095854/http://somethingelsereviews.com/2014/02/25/gary-wright-robben-ford-alan-white-bobby-whitlock-joey-molland-on-george-harrison/ "Gimme Five: Gary Wright, Robben Ford, Bobby Whitlock, Alan White, Joey Molland on George Harrison"], Something Else!, 25 February 2014 (archived version retrieved 14 July 2016).</ref> Whitlock recalls that, having arrived at the session late due to traffic, and finding that the other musicians were all playing on the [[Beat (music)#Downbeat and upbeat|downbeat]] on the song, he was left to play alone in the obvious "open spot" – on the upbeat.<ref name="Whitlock p 76">Whitlock, p. 76.</ref>{{refn|group=nb|With such a large cast of musicians playing on the album,<ref name="Schaffner p 142" /><ref name="Harris p 72">Harris, p. 72.</ref> specific contributions to each song remain the subject of conjecture.<ref name="Leng p 82fn" /><ref>Rodriguez, p. 76.</ref> While Gary Wright and Bobby Whitlock were the principal keyboard players throughout the ''All Things Must Pass'' sessions,<ref name="Leng p 82fn">Leng, p. 82fn.</ref> Wright has said that the first Harrison recording he played on was "Isn't It a Pity",<ref>Shawn Perry, [http://vintagerock.com/index.php?option=com_content&view=article&id=32:gary-wright&catid=3:interviews&Itemid=4 "The Gary Wright Interview"], vintagerock.com, 2009 (retrieved 1 February 2015).</ref> the session for which is known to have taken place slightly later, on 2 June 1970.<ref>Madinger & Easter, pp. 427, 428.</ref><ref>Spizer, p. 212.</ref>}}

{{quote box|quote= When we recorded Wah-Wah, the sound in your headphones was reasonably dry, but in the control room to hear the playback, the sound was loud and incredible. I loved it but George didn't: "What are you doing to my song?"<ref name="Snow/Mojo p 70">Mat Snow, "George Harrison: Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', November 2014, p. 70.</ref>|source= – [[Klaus Voormann]] to ''[[Mojo (magazine)|Mojo]]'' magazine, November 2014|width=25%|align=left|style=padding:8px;}}
Speaking in 2000 about this first session,<ref name="ATMP EPK">''[[All Things Must Pass#2001|All Things Must Pass (30th Anniversary Edition)]]'' EPK, [[All Things Must Pass#2001|Gnome Records]]/[[EMI]], 2001.</ref> Harrison said that the music sounded "really nice" in the room, "with all these nice acoustics and piano, and no echo on anything", but he was shocked during the playback when he heard how Spector had recorded the track.<ref name="Scorsese LITMW">George Harrison, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 23:53 and 24:25.</ref> In Leng's words, Spector "[unleashed] his full armory of [[Reverberation|reverb]]-flooded production values" on "Wah-Wah".<ref name="Leng p 85" />{{refn|group=nb|Whitlock writes of entering the studio and hearing Spector calling out a series of instructions to the engineers: "'[[Phaser (effect)|Phase]] the drums,' 'Phase the piano,' followed by 'Phase everything!'"<ref name="Whitlock p 76" />}} Harrison dismissed the result as "horrible", and recalled that when Clapton said he liked the way it sounded, he replied, "Well, you can have it on your album, then."<ref name="Scorsese LITMW" /> Although Harrison said "I grew to like it",<ref name="Scorsese LITMW" /> he subsequently reverted to his original opinion that the song, like much of ''All Things Must Pass'', was overproduced.<ref name="Leng p 85" /><ref name="Eds of RS p 180">The Editors of ''Rolling Stone'', p. 180.</ref> [[Overdubbing|Overdubs]] on many of the album's basic tracks were carried out at either Abbey Road or [[Trident Studios]], without Spector's assistance, and completed by 12 August.<ref name="Madinger & Easter p 427">Madinger & Easter, p. 427.</ref> After receiving Harrison's initial mixes, Spector wrote back with suggestions for each song;<ref name="Spizer p 222" /> in the case of "Wah-Wah", these included the addition of a saxophone solo by Keys, and backing vocals.<ref name="Beatles Bible album">[http://www.beatlesbible.com/people/george-harrison/albums/all-things-must-pass/ "All Things Must Pass (album)"], The Beatles Bible (retrieved 3 February 2015).</ref> As well as overdubbing his [[slide guitar]] solos, Harrison sang all the various vocal parts,<ref name="Whitlock p 79">Whitlock, p. 79.</ref> crediting himself as "the George O'Hara-Smith Singers" on the album sleeve.<ref>Castleman & Podrazik, p. 195.</ref>

The recording begins with Harrison's guitar riff,<ref name="Huntley p 54" /> which is then joined by Clapton's guitar, played through a wah-wah pedal.<ref name="Spizer p 222" /> Leng suggests that the musical arrangement was influenced by the Delaney & Bonnie song "Comin' Home", following Clapton and Harrison's guest roles on the band's European tour in December 1969.<ref name="Leng p 85" /> "Wah-Wah" also features prominent percussion, including uncredited [[maraca]]s and [[conga]]s,<ref name="Inglis p 25" /> and, in Leng's description, a "rollicking horn chart" from Price that helps define the middle-eight sections.<ref name="Leng p 85" /> Adding to the [[Tension (music)|musical tension]], Janovitz notes, Harrison sings high in his range throughout, "almost drowned out" by Spector's [[Wall of Sound]],<ref name="Janovitz/AMG" /> which sees keyboards, horns and the many guitar parts competing for space in the mix.<ref name="Spizer p 222" /> The song fades out on the single-chord main riff, accompanied by the sound of a car engine changing gear.<ref>Clayson, p. 292.</ref>

==Release==
Apple Records issued ''All Things Must Pass'' on 27 November 1970<ref>Castleman & Podrazik, p. 94.</ref> with "Wah-Wah" sequenced as the third track, between "[[My Sweet Lord]]" and "[[Isn't It a Pity]]".<ref name="Spizer p 220" /> Despite its unusually high retail price, as one of rock music's first studio [[Triple album|triple LP]] sets,<ref>Schaffner, p. 140.</ref><ref name="Harris p 73" /> the album was a significant commercial success worldwide,<ref name="Madinger & Easter p 427" /><ref>Rodriguez, pp. 5–6.</ref> and comfortably outperformed Lennon and McCartney's respective solo releases over 1970–71.<ref name="Doggett/RecColl">Peter Doggett, "George Harrison: The Apple Years", ''[[Record Collector]]'', April 2001, p. 37.</ref> Music journalist [[Anthony DeCurtis]] later wrote of the album representing "[the] bracing air of creative liberation" for Harrison.<ref name=RS2000 />

Like "Isn't It a Pity", the song "All Things Must Pass",<ref name=RS2000>Anthony DeCurtis, {{cite web|last=|first=|title=George Harrison ''All Things Must Pass''|publisher=|accessdate=|archiveurl=https://web.archive.org/web/20060814002619/http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass|archivedate=14 August 2006|date=|url=http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass}} ''[[Rolling Stone]]'', 12 October 2000 (retrieved 4 October 2012).</ref> and [[Barry Feinstein]]'s cover photo of Harrison surrounded by four comical-looking garden gnomes,<ref name="Harris p 73">Harris, p. 73.</ref> "Wah-Wah" was recognised as a comment by Harrison on his Beatle past.<ref>Album review by Andrew Gilbert, in Robert Dimery, ''1001 Albums You Must Hear Before You Die'', Universe (New York, NY, 2005); quoted in The Super Seventies "Classic 500", [http://www.superseventies.com/harrison1.html George Harrison – ''All Things Must Pass''] (retrieved 4 October 2012).</ref><ref name="Eds of RS p 40">The Editors of ''Rolling Stone'', p. 40.</ref> In February 1971, he, Lennon and Starr united in the [[High Court of Justice|British high court]] to challenge McCartney's suit to dissolve the band's legal partnership,<ref>Huntley, pp. 65–66.</ref> all three of them submitting [[affidavit]]s that mentioned their difficult experiences of working with him, particularly during the ''Get Back'' sessions.<ref>Badman, pp. 27–28, 31.</ref> In the context of this post-[[The Beatles' break-up|breakup]] unity, "Wah-Wah" was widely assumed to be directed at McCartney only,<ref name="Ingham/NME Orig" /><ref name="Alpert">Neal Alpert, [http://www.gadflyonline.com/12-3-01/music-georgeharrison.html "George Harrison's Concert for Bangladesh"], [[Gadfly Online]], December 2001 (retrieved 5 October 2012).</ref> just as Harrison's walkout two years before was thought to have been due solely to McCartney.<ref name="O'Gorman/Mojo p 73" /><ref name="Huntley p 25" /><ref name="Irvin/Mojo" />

==Reception and legacy==
In his book on the Beatles' first decade as solo artists, Robert Rodriguez includes "Wah-Wah" among the "essential components" of ''All Things Must Pass'', and he recalls the "buzz" surrounding the release as having been "about a major talent unleashed, one who'd [previously] been hidden in plain sight" behind Lennon and McCartney.<ref>Rodriguez, pp. 147, 253.</ref> In a contemporary review for ''[[Rolling Stone]]'', Ben Gerson suggested that the album was the rock-music equivalent of [[Tolstoy]]'s epic novel ''[[War and Peace]]'', while describing "Wah-Wah" as a "vintage Beatle song" and "a grand cacophony of sound in which horns sound like guitars and vice versa".<ref name="Gerson/RS">Ben Gerson, [http://www.rollingstone.com/music/albumreviews/all-things-must-pass-19710121 "George Harrison ''All Things Must Pass''"], ''[[Rolling Stone]]'', 21 January 1971, p. 46 (retrieved 4 February 2015).</ref> By contrast, Alan Smith of the ''NME'' found the dense sound oppressive and regarded the song as "inconsequential … one of the weaker tracks, although it's not short on dressing".<ref name="Smith/NME">Alan Smith, "George Harrison: ''All Things Must Pass'' (Apple)", ''[[NME]]'', 5 December 1970, p. 2; available at [http://www.rocksbackpages.com/article.html?ArticleID=20023 Rock's Backpages] (''subscription required'').</ref>

AllMusic's Bill Janovitz sums up the track as "a glorious rocker ... [that's] as edgy as anything Harrison ever sang while in the Beatles, if not more so", and "a driving, majestic song on the edge of being out of control".<ref name="Janovitz/AMG">Bill Janovitz, [http://www.allmusic.com/song/wah-wah-t743154 "George Harrison 'Wah-Wah'"], [[AllMusic]] (retrieved 25 September 2012).</ref> [[John Bergstrom]] of [[PopMatters]] opines that the best moments on ''All Things Must Pass'' "involve Harrison addressing his former band"; of these, the "raucous, ''killer'' jam" of "Wah-Wah" dismisses the Beatles' strife-filled final years as "so much white noise". While the song is "cutting", Bergstrom adds, "the sense of liberation is almost palpable."<ref name="Bergstrom/PM">John Bergstrom, [http://www.popmatters.com/pm/review/135411-george-harrison-all-things-must-pass/ "George Harrison: All Things Must Pass"], [[PopMatters]], 14 January 2011 (retrieved 4 February 2015).</ref> Writing for [[Rough Guides]], Chris Ingham considers that without Spector's Wall of Sound excesses, ''All Things Must Pass'' "wouldn't be the magnificently overblown item that it is", and he writes of "the sheer size of the sound … threatening to trample both song and singer" in the case of "the thunderous Wah-Wah".<ref>Ingham, pp. 132–33.</ref> Former ''Mojo'' editor [[Paul Du Noyer]] describes the album as "Harrison's handful of earth upon the Beatle coffin", but, less impressed with the composition, he cites "Wah-Wah" as a rare example where "the material is probably too slight to carry the colossal weight of Spector's production".<ref>Paul Du Noyer, [http://www.pauldunoyer.com/pages/journalism/journalism_item.asp?journalismID=237 "George Harrison's All Things Must Pass"], [[Paul Du Noyer|pauldunoyer.com]], 13 March 2009 (retrieved 29 January 2015).</ref>

Among Harrison biographers, Simon Leng writes that the song "trashes the roseate memory of the Beatles". He concludes his discussion of this "unusually heavy chunk of rock" with the observation: "It's a song of anger and alienation, redolent of betrayal and hostility. To that extent, it's a good-time number to rival Delaney & Bonnie, with a heart of pure stone."<ref name="Leng pp 85-86">Leng, pp. 85–86.</ref> Noting the production's "layer upon layer of sonic bombast", Elliot Huntley opines that "Spector fans must have been in seventh heaven" when they first heard "Wah-Wah".<ref name="Huntley p 54" /> Huntley refers to it as "one of the outstanding tracks" of Harrison's career, and a welcome though rare "flat-out, kick-ass rocker" in the singer's canon.<ref name="Huntley p 55" />

Still dissatisfied with Spector's "[[CinemaScope|Cinemascope]]"-like production on "Wah-Wah",<ref name="Eds of RS p 180" /> when ''All Things Must Pass'' was [[All Things Must Pass#2001|reissued]] in January 2001, Harrison admitted that he had been tempted to remix many of the tracks rather than simply [[remaster]] the album's original mixes.<ref>Huntley, pp. 305–06.</ref> In an interview with ''[[Guitar World]]'' magazine to promote the reissue, he also revealed that McCartney had "long since" apologised for his behaviour towards him during the Beatles years.<ref>Huntley, pp. 12, 23–24.</ref> In the 2000 book ''[[The Beatles Anthology (book)|The Beatles Anthology]]'', Harrison comments: "It's important to state that a lot of water has gone under the bridge ... But talking about what was happening at that time [with McCartney, Lennon and Ono], you can see it was strange."<ref>George Harrison, in The Beatles, p. 316.</ref>

==Live version==
On 1 August 1971, Harrison performed "Wah-Wah" as the opening song for the rock-music portion of the two [[The Concert for Bangladesh|Concert for Bangladesh]] shows,<ref name="Madinger & Easter pp 436-37">Madinger & Easter, pp. 436–37.</ref> held at [[Madison Square Garden]] in New York.<ref>Badman, pp. 43–44.</ref> It was therefore the first song he ever played live as a solo artist and, given the humanitarian cause behind the event, [[Alan Clayson]] writes, the New York audience "loved him ... before he'd even plucked a string".<ref>Clayson, p. 312.</ref> The running order of the ''[[The Concert for Bangladesh (album)|Concert for Bangladesh]]'' live album follows the [[Set list|setlist]] for the second show that day,<ref>Madinger & Easter, pp. 436–38.</ref> about which Joshua Greene remarks on the "logical chronology" in Harrison's three-song opening segment: "Wah-Wah" "declared his independence from the Beatles, followed by 'My Sweet Lord,' which declared his internal discovery of God and spirit, and then '[[Awaiting on You All]],' which projected his message to the world."<ref>Greene, p. 190.</ref> Re-creating the Wall of Sound from ''All Things Must Pass'',<ref name="Schaffner, p 147">Schaffner, p. 147.</ref> Harrison was backed by a large band that again included Clapton, Starr, Preston, Voormann and Badfinger,<ref>Richard S. Ginell, [http://www.allmusic.com/album/the-concert-for-bangladesh-r64627/review "George Harrison ''The Concert for Bangladesh''"], [[AllMusic]] (retrieved 5 February 2015).</ref> together with musicians such as Leon Russell, saxophonist [[Jim Horn]] and drummer [[Jim Keltner]],<ref>The Editors of ''Rolling Stone'', pp. 42, 122.</ref> and a group of seven backing singers.<ref>Spizer, p. 241.</ref>

The recording of "Wah-Wah" that appears on the live album was a composite of the audio from both the afternoon and evening shows<ref>Spizer, p. 242.</ref> – one of the few examples of studio manipulation on an otherwise faithful record of the concert.<ref>Madinger & Easter, pp. 436, 438.</ref> Due to technical problems with the film footage, the "Wah-Wah" segment in [[Saul Swimmer]]'s [[The Concert for Bangladesh (film)|concert documentary]] was created through a series of edits and cuts between visuals from the first and second shows.<ref>George Harrison, pp. 60–61.</ref>

Harrison's staging of the two benefit concerts enhanced his standing as the most popular of the former Beatles;<ref name="Doggett/RecColl" /><ref>Harris, pp. 73–74.</ref><ref>Schaffner, pp. 147, 159.</ref> Doggett describes him as having become "arguably music's most influential figure" over this period.<ref>Doggett, p. 175.</ref> In a laudatory review of the ''Concert for Bangladesh'' album, for ''Rolling Stone'',<ref>Spizer, p. 246.</ref><ref>Huntley, pp. 80–81.</ref> [[Jon Landau]] described "Wah-Wah" as "a simple statement by a musician who knows who he is and what he wants to play".<ref name="Landau RS">Jon Landau, [http://www.rollingstone.com/music/albumreviews/concert-for-bangladesh-19720203 "George Harrison, ''Concert for Bangla Desh''"], ''[[Rolling Stone]]'', 3 February 1972 (retrieved 6 October 2012).</ref> Like Rodriguez, who considers that the song "truly [came] into its own" that day,<ref name="Rodriguez p 381" /> Andrew Grant Jackson views this live reading as superior to the studio recording. He writes: "The live version is a notch slower, and the cleaner mix allows breathing room to hear the space between the instruments. And more importantly, there's the euphoria of the performance itself."<ref name="Jackson/RS" />

==Cover versions==
On 29 November 2002, exactly a year after his death from cancer, "Wah-Wah" was the last Harrison composition performed at the [[Concert for George]], held at London's [[Royal Albert Hall]].<ref>Inglis, p. 127.</ref> [[Jeff Lynne]], Eric Clapton and [[Andy Fairweather-Low]] shared lead vocals on the song.<ref name=george>Stephen Thomas Erlewine, [http://www.allmusic.com/album/concert-for-george-r669282/review "Original Soundtrack ''Concert for George''"], [[AllMusic]] (retrieved 8 October 2012).</ref> The band also featured Harrison's son [[Dhani Harrison|Dhani]] and many other close musical friends – Starr, Voormann, Keltner, Horn, [[Ray Cooper]], [[Gary Brooker]] and [[Tom Petty]] among them – as well as Paul McCartney.<ref>''[[Concert for George (film)|Concert for George]]'' DVD ([[Warner Strategic Marketing]], 2003; directed by David Leland; produced by Ray Cooper, Olivia Harrison, Jon Kamen & Brian Roylance).</ref><ref>Leng, pp. 310–11.</ref> This performance was released on the [[Concert for George (album)|album of the concert]];<ref name=george/> although left off the theatrical release of [[David Leland]]'s ''[[Concert for George (film)|Concert for George]]'' documentary film, it was subsequently included on the DVD release.<ref>William Ruhlmann, [http://www.allmusic.com/album/concert-for-george-mw0000997603 Various Artists ''A Concert for George'' (Video)"], [[AllMusic]] (retrieved 16 July 2015).</ref>

Alternative band [[B.A.L.L.]] covered "Wah-Wah" on their 1988 album ''[[Bird (B.A.L.L. album)|Bird]]'', as part of their parody of early 1970s rock stars such as the former Beatles.<ref name="trouserpress">Glenn Kenny, [http://trouserpress.com/entry.php?a=ball "B.A.L.L."], ''[[Trouser Press]]'', 2007 (retrieved 11 December 2015).</ref> [[Buffalo Tom]] recorded "Wah-Wah" live on [[WMBR]] in [[Cambridge, Massachusetts]] in January 1991, a version that appeared on the band's ''Fortune Teller'' EP later that year.<ref>[http://www.discogs.com/Buffalo-Tom-Fortune-Teller/release/1308737 "Buffalo Tom – Fortune Teller"], [[Discogs]] (retrieved 12 January 2013).</ref> [[Ocean Colour Scene]] covered the song on their 2005 album ''[[A Hyperactive Workout for the Flying Squad]]'',<ref>Stephen Thomas Erlewine, [http://www.allmusic.com/album/a-hyperactive-workout-for-the-flying-squad-r731092 "Ocean Colour Scene ''A Hyperactive Workout for the Flying Squad''"], [[AllMusic]] (retrieved 8 October 2012).</ref><ref>[http://www.secondhandsongs.com/performance/33259 "''A Hyperactive Workout for the Flying Squad'' – Ocean Colour Scene"], Second Hand Songs (retrieved 6 October 2012).</ref> and in 2011 former [[Jefferson Starship]] vocalist [[Mickey Thomas (singer)|Mickey Thomas]] released a version on his album ''Marauder''.<ref>William Ruhlmann, [http://www.allmusic.com/album/marauder-mw0002100706 "Mickey Thomas ''Marauder''"], [[AllMusic]] (retrieved 25 September 2012).</ref>

The [[Tedeschi Trucks Band]] have often included "Wah-Wah" in their live performances.<ref>Nicole Pensiero, [http://www.philly.com/philly/entertainment/music/20141128_Featured_pop_shows__Tedeschi_Trucks_Band__Paul_Jost__and_David_Bromberg.html "Featured pop shows: Tedeschi Trucks Band, Paul Jost, and David Bromberg"], [[philly.com]], 28 November 2014 (retrieved 1 February 2015).</ref><ref>Craig Young, [http://nodepression.com/video/tedeschi-trucks-band-wah-wah "Tedeschi Trucks Band – 'Wah Wah'"], [[No Depression (magazine)|No Depression]], 16 November 2013 (retrieved 1 February 2015).</ref> [[Beck]] performed the song on the US television show ''[[Conan (talk show)|Conan]]'' in September 2014,<ref>Evan Minsker, [http://pitchfork.com/news/56820-beck-covers-george-harrisons-wah-wah-on-conan/ "Beck Covers George Harrison's 'Wah-Wah' on 'Conan'"], [[Pitchfork Media]], 22 September 2014 (retrieved 25 September 2014).</ref> as part of a week-long promotion for Harrison's ''[[The Apple Years 1968–75|The Apple Years]]'' box set.<ref name="Strecker/BB">Erin Strecker, [http://www.billboard.com/articles/news/6259313/paul-simon-here-comes-the-sun-conan "Paul Simon Performs 'Here Comes The Sun' for George Harrison Week on 'Conan'"], [[Billboard (magazine)|billboard.com]], 24 September 2014 (retrieved 25 September 2014).</ref> [[Nick Valensi]] of [[the Strokes]] covered "Wah-Wah" at the George Fest tribute concert that same month,<ref>Lindsey Best, [http://www.huffingtonpost.com/lindsey-best/the-best-fests-george-fes_b_5932370.html "The Best Fest's George Fest 2014"], [[The Huffington Post]], 6 October 2014 (retrieved 17 July 2015).</ref> with [[Matt Sorum]], of [[Guns N' Roses]] and [[Velvet Revolver]].<ref>Bailey Pennick, [http://floodmagazine.com/1854/live-dhani-harrison-and-friends-come-together-to-celebrate-george-harrison-for-jamesons-george-fest-92814/ "LIVE: Dhani Harrison and Friends Come Together to Celebrate George Harrison for Jameson's 'George Fest' (9/28/14)"], floodmagazine.com, 30 September 2014 (retrieved 17 July 2015).</ref>

==Personnel==
The following musicians are believed to have played on the studio version of "Wah-Wah":<ref name="Leng p 85" />

*[[George Harrison]] – vocals, electric guitar, [[slide guitar]], backing vocals
*[[Eric Clapton]] – electric guitar
*[[Billy Preston]] – electric piano
*[[Gary Wright]] – piano
*[[Pete Ham]] – acoustic guitar
*[[Tom Evans (musician)|Tom Evans]] – acoustic guitar
*[[Joey Molland]] – acoustic guitar
*[[Klaus Voormann]] – bass
*[[Ringo Starr]] – drums
*[[Bobby Keys]] – saxophones
*[[Jim Price (musician)|Jim Price]] – trumpet, horn arrangement
*[[Mike Gibbins]] – tambourine
*[[Phil Collins]] – [[maraca]]s, [[conga]]s

==Notes==
{{reflist|2|group=nb}}

==References==
{{reflist|3}}

==Sources==
{{refbegin}}
* Keith Badman, ''The Beatles Diary Volume 2: After the Break-Up 1970–2001'', Omnibus Press (London, 2001; {{ISBN|0-7119-8307-0}}).
* The Beatles, ''The Beatles Anthology'', Chronicle Books (San Francisco, CA, 2000; {{ISBN|0-8118-2684-8}}).
* Harry Castleman & Walter J. Podrazik, ''All Together Now: The First Complete Beatles Discography 1961–1975'', Ballantine Books (New York, NY, 1976; {{ISBN|0-345-25680-8}}).
* Alan Clayson, ''George Harrison'', Sanctuary (London, 2003; {{ISBN|1-86074-489-3}}).
* Peter Doggett, ''You Never Give Me Your Money: The Beatles After the Breakup'', It Books (New York, NY, 2011; {{ISBN|978-0-06-177418-8}}).
* The Editors of ''Rolling Stone'', ''Harrison'', Rolling Stone Press/Simon & Schuster (New York, NY, 2002; {{ISBN|0-7432-3581-9}}).
* Anthony Fawcett, ''John Lennon: One Day at a Time'', New English Library (London, 1977; {{ISBN|978-0-450-03073-4}}).
* ''[[George Harrison: Living in the Material World]]'' DVD, [[Village Roadshow]], 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).
* Joshua M. Greene, ''Here Comes the Sun: The Spiritual and Musical Journey of George Harrison'', John Wiley & Sons (Hoboken, NJ, 2006; {{ISBN|978-0-470-12780-3}}).
* John Harris, "A Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', July 2001, pp. 66–74.
* George Harrison, ''I Me Mine'', Chronicle Books (San Francisco, CA, 2002; {{ISBN|0-8118-3793-9}}).
* Olivia Harrison, ''George Harrison: Living in the Material World'', Abrams (New York, NY, 2011; {{ISBN|978-1-4197-0220-4}}).
* Mark Hertsgaard, ''A Day in the Life: The Music and Artistry of the Beatles'', Pan Books (London, 1996; {{ISBN|0-330-33891-9}}).
* Elliot J. Huntley, ''Mystical One: George Harrison – After the Break-up of the Beatles'', Guernica Editions (Toronto, ON, 2006; {{ISBN|1-55071-197-0}}).
* Chris Ingham, ''The Rough Guide to the Beatles'', Rough Guides/Penguin (London, 2006; 2nd edn; {{ISBN|978-1-8483-6525-4}}).
* Ian Inglis, ''The Words and Music of George Harrison'', Praeger (Santa Barbara, CA, 2010; {{ISBN|978-0-313-37532-3}}).
* Simon Leng, ''While My Guitar Gently Weeps: The Music of George Harrison'', Hal Leonard (Milwaukee, WI, 2006; {{ISBN|1-4234-0609-5}}).
* Ian MacDonald, ''Revolution in the Head: The Beatles' Records and the Sixties'', Pimlico (London, 1998; {{ISBN|0-7126-6697-4}}).
* Chip Madinger & Mark Easter, ''Eight Arms to Hold You: The Solo Beatles Compendium'', 44.1 Productions (Chesterfield, MO, 2000; {{ISBN|0-615-11724-4}}).
* Wilfrid Mellers, ''The Music of the Beatles: Twilight of the Gods'', Schirmer Books (New York, NY, 1973; {{ISBN|0-670-73598-1}}).
* Barry Miles, ''The Beatles Diary Volume 1: The Beatles Years'', Omnibus Press (London, 2001; {{ISBN|0-7119-8308-9}}).
* ''[[Mojo (magazine)|Mojo]]: The Beatles' Final Years Special Edition'', Emap (London, 2003).
* Chris O'Dell (with Katherine Ketcham), ''Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved'', Touchstone (New York, NY, 2009; {{ISBN|978-1-4165-9093-4}}).
* Robert Rodriguez, ''Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980'', Backbeat Books (Milwaukee, WI, 2010; {{ISBN|978-1-4165-9093-4}}).
* Nicholas Schaffner, ''The Beatles Forever'', McGraw-Hill (New York, NY, 1978; {{ISBN|0-07-055087-5}}).
* Bruce Spizer, ''The Beatles Solo on Apple Records'', 498 Productions (New Orleans, LA, 2005; {{ISBN|0-9662649-5-9}}).
* Doug Sulpy & Ray Schweighardt, ''Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster'', St. Martin's Griffin (New York, 1997; {{ISBN|0-312-19981-3}}).
* Bobby Whitlock (with Marc Roberty), ''Bobby Whitlock: A Rock 'n' Roll Autobiography'', McFarland (Jefferson, NC, 2010; {{ISBN|978-0-7864-6190-5}}).
* John C. Winn, ''That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970'', Three Rivers Press (New York, NY, 2009; {{ISBN|978-0-3074-5239-9}}).
{{refend}}

[[Category:1970 songs]]
[[Category:George Harrison songs]]
[[Category:Songs written by George Harrison]]
[[Category:Song recordings produced by George Harrison]]
[[Category:Song recordings produced by Phil Spector]]
[[Category:Music published by Harrisongs]]
[[Category:Song recordings with Wall of Sound arrangements]]
[[Category:Eric Clapton songs]]
[[Category:Ocean Colour Scene songs]]

Benutzer:Fab4er/Wah-Wah (song)

2017-07-15T03:33:49Z

190.195.195.40: /* Personnel */

{{good article}}
{{Use British English|date=May 2013}}
{{Use dmy dates|date=May 2013}}
{{Infobox song
| Name = Wah-Wah
| Type = Song
| Cover = [[File:George Harrison "Wah-Wah" sheet music.jpg|165px]]
| Caption = Cover of the original [[Chas. H. Hansen Music Corp.|Hansen Publishing]] sheet music for the song
| Artist = [[George Harrison]]
| Album = [[All Things Must Pass]]
| Published = [[Harrisongs]]
| Released = 27 November 1970
| track_no = Side One, Track 3
| Recorded =
| Genre = [[Rock music|Rock]], [[hard rock]]
| Length = 5:35
| Writer = [[George Harrison]]
| Label = [[Apple Records|Apple]]
| Producer = George Harrison, [[Phil Spector]]
| Tracks = {{All Things Must Pass tracks}}
}}
'''"Wah-Wah"''' is a song by English musician [[George Harrison]], released on his 1970 triple album ''[[All Things Must Pass]]''. Harrison wrote the song following his temporary departure from [[the Beatles]] in January 1969, during the troubled [[Let It Be#Concept|''Get Back'']] sessions that resulted in their ''[[Let It Be (film)|Let It Be]]'' album and film. The lyrics reflect his frustration with the atmosphere in the group at that time – namely, [[Paul McCartney]]'s over-assertiveness and criticism of his guitar playing, [[John Lennon]]'s lack of engagement with the project and dismissal of Harrison as a songwriter, and [[Yoko Ono]]'s constant involvement in the band's activities. Music critics and biographers recognise the song as Harrison's statement of personal and artistic freedom from the Beatles. Its creation contrasted sharply with his rewarding collaborations outside the group in the months before the ''Get Back'' project, particularly with [[Bob Dylan]] and [[the Band]] in [[upstate New York]].

Recorded shortly after the Beatles' break-up in 1970, "Wah-Wah" was the first track taped for ''All Things Must Pass''. The recording features a dense production treatment from [[Phil Spector]] and backing from a large cast of musicians including [[Eric Clapton]], [[Ringo Starr]], [[Billy Preston]], [[Bobby Keys]] and the band [[Badfinger]]. On release, ''[[Rolling Stone]]'' magazine described it as "a grand cacophony of sound in which horns sound like guitars and vice versa".<ref name="Gerson/RS" /> While several reviewers find the heavy production appropriate for the song, Harrison considered the recording overproduced and the sound too cluttered.

"Wah-Wah" was the first song Harrison played live as a solo artist when he performed it as his opener for the Western-music portion of [[the Concert for Bangladesh]], in August 1971. Viewed by some commentators as superior to the studio recording, this version re-created Spector's [[Wall of Sound]] treatment in a live setting, using many of the participants from the 1970 album sessions. At the [[Concert for George]] in November 2002, a year after Harrison's death, "Wah-Wah" was performed by an all-star band that included Clapton, [[Jeff Lynne]], Starr and McCartney. [[Ocean Colour Scene]], [[Buffalo Tom]], [[Beck]] and the [[Tedeschi Trucks Band]] are among the other artists who have covered the song.

==Background==
===October–December 1968 US visit===
When discussing the song "Wah-Wah" and [[George Harrison]]'s temporary departure from [[the Beatles]] in January 1969, several commentators note the importance of his recent two-month visit to America, which followed the completion of the band's 1968 double album ''[[The Beatles (album)|The Beatles]]'', commonly known as the White Album.<ref name="Harris p 68" /><ref>Leng, pp. 39–40, 55.</ref><ref name="O'Gorman/Mojo p 73" /><ref>Clayson, pp. 259–60.</ref> In Los Angeles, where he was producing a [[Jackie Lomax]] [[Is This What You Want?|solo album]] for the Beatles' [[Apple Records|Apple]] record label, Harrison directed top session players such as [[Hal Blaine]] and [[Larry Knechtel]],<ref>Miles, p. 313.</ref> and met two American musicians with whom he would soon collaborate in London, [[Delaney Bramlett]] and [[Leon Russell]].<ref>Leng, pp. 62–63.</ref> Later in the US trip, Harrison stayed in [[upstate New York]], where he established a musical bond with [[Bob Dylan]]<ref name="Harris p 68" /> and thrived among what author Simon Leng calls the "group ethic and camaraderie" of [[the Band]].<ref>Leng, pp. 51–53.</ref> Throughout this period, Harrison continued to bloom as a songwriter,<ref name="Lewisohn/Mojo" /> having contributed four songs to ''The Beatles'' that, in the words of author [[Nicholas Schaffner]], "firmly established him as a contender" beside bandmates [[John Lennon]] and [[Paul McCartney]].<ref>Schaffner, p. 115.</ref> In addition, he had recently co-written [[Cream (band)|Cream]]'s single "[[Badge (song)|Badge]]" with [[Eric Clapton]],<ref>The Editors of ''Rolling Stone'', p. 176.</ref> as well as collaborating with Dylan in [[Bearsville, New York|Bearsville]].<ref>Leng, pp. 37–39, 51–54.</ref>

===January 1969 at Twickenham Film Studios===
[[File:Geograph-2065963-by-Christine-Johnstone cropped.jpg|thumb|left|upright|220px|Part of Twickenham Film Studios, in south-west London]]
Harrison later recalled his two months in the United States as having been "such a good time", yet "the moment I got back with the Beatles [for their [[Let It Be#Concept|''Get Back'']] film project], it was just too difficult".<ref>Mitchell Glazer, "Interview with George Harrison", ''[[Crawdaddy!|Crawdaddy]]'', February 1977.</ref><ref name="Huntley p 18">Huntley, p. 18.</ref> These difficulties included having to endure McCartney's habit of dictating how the others should play their instruments<ref>MacDonald, pp. 288–89.</ref><ref>Clayson, p. 261.</ref> and Lennon's increasing withdrawal from the band and emotional dependence on his ever-present partner, [[Yoko Ono]].<ref>MacDonald, p. 301.</ref><ref>Hertsgaard, pp. 250–51, 267.</ref><ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 70.</ref> The couple had recently descended into [[Opioid dependence|heroin addiction]],<ref>MacDonald, p. 246.</ref><ref>Sulpy & Schweighardt, pp. 1–2.</ref><ref>Hertsgaard, pp. 251, 257.</ref> leaving Lennon, in author [[Peter Doggett]]'s words, "emotionally removed and artistically bankrupt".<ref name="Doggett/Mojo p 138">Peter Doggett, "Fight to the Finish", in ''Mojo: The Beatles' Final Years'', p. 138.</ref> In their study of the ''Get Back'' project, Doug Sulpy and Ray Schweighardt write that, as another frustration for Harrison, Lennon and McCartney regularly overlooked his compositions, even when they were "far better than their own".<ref name="Sulpy & Schweighardt p 1">Sulpy & Schweighardt, p. 1.</ref>{{refn|group=nb|The previous year, Lennon and McCartney had similarly shown no interest in recording Harrison's "[[While My Guitar Gently Weeps]]",<ref>The Editors of ''Rolling Stone'', p. 38.</ref><ref>Clayson, pp. 251–52.</ref> a track that author [[Mark Hertsgaard]] has described as "perhaps the single most impressive song on the White Album".<ref>Hertsgaard, p. 252.</ref>}}

On 6 January 1969, the band's third day at [[Twickenham Film Studios]], in south-west London,<ref>Miles, pp. 327–28.</ref> an argument was captured on film where McCartney criticised Harrison's guitar playing on the song "[[Two of Us (song)|Two of Us]]".<ref name="Sulpy & Schweighardt p 51">Sulpy & Schweighardt, p. 51.</ref> A resigned Harrison told him: "I'll play what you want me to play, or I won't play at all if you don't want me to play."<ref name="Miles p 328">Miles, p. 328.</ref><ref>Hertsgaard, p. 267.</ref> With the sessions being recorded by film director [[Michael Lindsay-Hogg]],<ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', pp. 70–71.</ref> tapes reveal Beatles associates [[Neil Aspinall]] and [[George Martin]] sympathising with Harrison's position,<ref name="Huntley p 22">Huntley, p. 22.</ref> recognising that McCartney and Lennon "don't offer him enough freedom within their compositions".<ref name="Sulpy & Schweighardt p 173">Sulpy & Schweighardt, p. 173.</ref> [[Ringo Starr]], who had quit the band briefly during the White Album sessions, partly as a result of McCartney's hectoring of his drumming,<ref>Hertsgaard, pp. 250–51.</ref> recalled of Harrison's refusal to be "dominated" by McCartney any longer: "Paul [typically] wanted to point out the solo to George, who would say, 'Look, I'm a guitarist. I'll play the solo.' And he always did, he always played fine solos."<ref>Ringo Starr, in The Beatles, p. 316.</ref>

{{quote box|quote= I just got so fed up with the bad vibes – and that arguments with Paul were getting put in the film. I didn't care if it was the Beatles, I was getting out.<ref name="White/Musician p 55">Timothy White, "George Harrison – Reconsidered", ''[[Musician (magazine)|Musician]]'', November 1987, p. 55.</ref>|source= – George Harrison to ''[[Musician (magazine)|Musician]]'' magazine, November 1987|width=25%|align=right|style=padding:8px;}}
Over the first three days at Twickenham, Harrison had presented new compositions such as "[[All Things Must Pass (song)|All Things Must Pass]]", "[[Let It Down]]" and "[[Hear Me Lord]]" for consideration;<ref>Spizer, pp. 212, 220, 223.</ref> these and other "numerous beautiful songs", music journalist Martin O'Gorman writes, "received derision and disinterest from Lennon or heavy-handed interference from McCartney".<ref name="O'Gorman/Mojo p 73">Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 73.</ref>{{refn|group=nb|Later in January, the Harrison compositions "[[Something (Beatles song)|Something]]", "[[Old Brown Shoe]]" and "[[Isn't It a Pity]]" were met with more indifference from Lennon and McCartney.<ref>The Editors of ''Rolling Stone'', pp. 38, 39.</ref><ref>Huntley, pp. 18–19.</ref>}} On 8 January, Harrison debuted "[[I Me Mine]]", a song inspired by the bickering and negativity within the band.<ref name="Miles p 328" /><ref name="Greene p 115">Greene, p. 115.</ref> It was met with ridicule by Lennon<ref name="Huntley p 21">Huntley, p. 21.</ref> and an argument ensued between the two musicians, during which Lennon dismissed Harrison's abilities as a songwriter.<ref name="Miles p 328" /> According to Sulpy and Schweighardt, Lennon's resentment was most likely a reaction to Harrison's productivity throughout the sessions, since he himself was "unable to write a decent new song".<ref>Sulpy & Schweighardt, p. 170.</ref>{{refn|group=nb|Music journalist [[John Harris (critic)|John Harris]] observes that in light of Lennon having offered only a "half-finished" "[[Don't Let Me Down (The Beatles song)|Don't Let Me Down]]" and the "pretty execrable" "[[Dig a Pony]]", Harrison must have been "enraged ... all the more".<ref name="Harris p 68" />}} In addition, Harrison had been alone in voicing his objections to Ono's presence,<ref>Huntley, p. 24.</ref> telling the couple how, in Lennon's later recollection, "Dylan and a few people said she's got a lousy name in New York".<ref name="Jackson/RS">Andrew Grant Jackson, [http://www.rollingstone.com/music/news/book-excerpt-george-harrison-realizes-its-time-to-move-on-from-the-beatles-20120817 "Book Excerpt: George Harrison Realizes It's Time to Move On From the Beatles"], [[Rolling Stone|rollingstone.com]], 17 August 2012 (retrieved 29 January 2015).</ref><ref>Martin O'Gorman, "Film on Four", in ''Mojo: The Beatles' Final Years'', p. 72.</ref>

On Friday, 10 January, a more severe argument took place in which Harrison berated Lennon for contributing nothing positive to the rehearsals.<ref name="Miles p 328" /> During the lunch break, Harrison walked out of the Beatles, saying that the others should advertise in the ''[[NME]]'' for his replacement.<ref name="O'Gorman/Mojo p 73" /><ref>Sulpy & Schweighardt, pp. 167, 169–70.</ref> He then drove to his home, [[Kinfauns (Surrey)|Kinfauns]], in [[Surrey]], and wrote "Wah-Wah" that same afternoon.<ref name="IMM p 194">George Harrison, p. 194.</ref><ref>Clayson, p. 262.</ref> Despite the animosity between himself and Lennon on the day he quit the group,<ref>Sulpy & Schweighardt, pp. 169–70.</ref><ref name="Huntley p 25">Huntley, p. 25.</ref> Harrison later confirmed a suggestion made by music journalist [[Timothy White (editor)|Timothy White]] that, just like Lennon's "[[How Do You Sleep? (John Lennon song)|How Do You Sleep?]]" and "[[Crippled Inside]]", the song was a "swipe" at McCartney.<ref name="White/Musician p 55" />

===Harrison's return to the Beatles===
{{quote box|quote= It's a festering wound … It's only this year that [George] has realised who he is. And all the fucking shit we've done to him.<ref>Doggett, p. 62.</ref>|source= – Lennon to McCartney, discussing Harrison's departure from the Beatles|width=25%|align=right|style=padding:8px;}}
Harrison's diary records that Lennon and Ono "diverted" him at home over breakfast the following morning,<ref>Dhani Harrison, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 2:52 and 2:58.</ref><ref>Olivia Harrison, pp. 192–93.</ref> but even after a subsequent band meeting at Starr's house, author [[Barry Miles]] writes, their "feud" remained "intractable".<ref name="Miles p 329">Miles, p. 329.</ref> At the meeting, much to Harrison's annoyance, Lennon once more chose to have Ono speak on his behalf.<ref name="Irvin/Mojo">Jim Irvin, "Close to the Edge", ''[[Mojo (magazine)|Mojo]]'', December 2003, p. 82.</ref> Harrison then went to his parents' home in [[Warrington]] for a few days before imposing terms for his return to the band<ref name="O'Gorman/Mojo p 73" /><ref name="Rodriguez p 381">Rodriguez, p. 381.</ref> – namely, that McCartney's plans for a live concert be abandoned and the project be relocated to the Beatles' own [[Apple Studio]], at London's [[Savile Row]].<ref>Miles, pp. 330, 331.</ref> Commentators have remarked on a change in Harrison's standing within the band as a result of his walkout,<ref name="Harris p 68" /><ref>Clayson, pp. 254, 262.</ref><ref>Greene, pp. 116–17.</ref> and later in 1969, Lennon and McCartney would be speaking admiringly of Harrison's growth as a songwriter.<ref name="Lewisohn/Mojo">Mark Lewisohn, "Something Else", in ''Mojo: The Beatles' Final Years'', p. 118.</ref><ref name="Fawcett p 96">Fawcett, p. 96.</ref>{{refn|group=nb|McCartney told Lennon: "Until this year, our songs have been better than George's. Now this year his songs are at least as good as ours ..."<ref name="Fawcett p 96" /> Lennon named Harrison's "Something" as his favourite track on the Beatles' ''[[Abbey Road]]'' album, released in September 1969.<ref name="Lewisohn/Mojo" /><ref>MacDonald, p. 306.</ref>}} In an article for ''[[Mojo (magazine)|Mojo]]'' magazine's July 2001 "Solo Beatles Special", [[John Harris (critic)|John Harris]] wrote that although Harrison "nominally" remained a Beatle, he was "serving out his notice" after 10 January 1969.<ref name="Harris p 68">Harris, p. 68.</ref>

==Composition==
In his autobiography, ''[[I, Me, Mine (book)|I, Me, Mine]]'', Harrison explains that the song title was a reference to "a 'headache' as well as a footpedal",<ref name="IMM p 194" /> the [[wah-wah pedal]] being a guitar effect that he favoured for much of the early ''Get Back'' sessions.<ref>Sulpy & Schweighardt, pp. 63–64, 77.</ref><ref>Winn, p. 250.</ref> The message of the song, according to Harrison, was: "you're giving me a bloody headache."<ref name="White/Musician p 55" /><ref name="Huntley p 55">Huntley, p. 55.</ref> Leng identifies "Wah-Wah" as being directed at the "artifice" and "pretense" surrounding the Beatles.<ref name="Leng p 86">Leng, p. 86.</ref>

{{quote box|quote= There was too much restriction [in the Beatles]. It had to self-destruct … I could see a much better time ahead being by myself, away from the band … It was like a straitjacket.<ref>George Harrison, in The Beatles, p. 348.</ref>|source= – George Harrison, 2000|width=25%|align=left|style=padding:8px;}}
The song is based around an electric guitar [[Ostinato#Riff|riff]] that Leng describes as "snarling".<ref name="Leng p 85" /> Written in the [[key (music)|key]] of E, the tune incorporates chord changes that musicologist [[Wilfrid Mellers]] once admired as "audacious";<ref name=mellers>Mellers, p. 147.</ref> musically, Harrison biographer Elliot Huntley suggests, the composition mirrors the "intense atmosphere" at Twickenham in January 1969.<ref name="Huntley p 54">Huntley, p. 54.</ref> Referring to the released recording, author Ian Inglis views "Wah-Wah" as a [[hard rock]] song where the "forceful rhythm" conveys "the momentum of [Harrison's] anger".<ref name="Inglis p 25" />

Like "[[Run of the Mill (George Harrison song)|Run of the Mill]]", which Harrison also wrote in early 1969, the lyrics touch on the failure of friendships within the band,<ref>Doggett, p. 141.</ref> which in the case of Harrison, McCartney and Lennon dated back to school years.<ref>Leng, p. 94.</ref><ref>[http://www.superseventies.com/ssgeorgeharrison.html "George Harrison – In His Own Words"], superseventies.com (retrieved 3 October 2012).</ref> Harrison later spoke of their familiarity with one another resulting in McCartney, especially, failing to recognise his artistic growth;<ref>Doggett, p. 134.</ref> in ''I, Me, Mine'', he refers to "Wah-Wah" as reflecting "that concept of how everybody sees and treats everybody else, allowing no consideration for the fact that we are changing all the time".<ref name="IMM p 194" />

The second verse reflects Harrison's frustration at being viewed by Lennon and McCartney as subservient to their ambitions, just as his 1968 composition "[[Not Guilty (song)|Not Guilty]]" had found Harrison defending himself for supposedly leading his fellow Beatles "astray" to the [[Maharishi Mahesh Yogi|Maharishi]]'s [[The Beatles in India|meditation retreat in India]].<ref>Huntley, p. 165.</ref><ref>Leng, pp. 33, 38.</ref> In "Wah-Wah", he states sarcastically:<ref name="Inglis p 25" />
{{-}}

{{quote|''You've made me such a big star Being there at the right time Cheaper than a dime ...''}}

Over the song's two [[Thirty-two-bar form#Middle eight|middle eights]], Harrison laments that his bandmates never take the time to notice his sorrow or "''hear me sighing''".<ref name="Inglis p 25">Inglis, p. 25.</ref>

[[File:Kinfauns George Harrison house.jpg|thumb|right|205px|Harrison's Surrey home, [[Kinfauns (Surrey)|Kinfauns]], where he wrote "Wah-Wah" immediately after leaving the Beatles]]
Religious academic Joshua Greene has written of Harrison being "too sure of his life's higher purpose" by January 1969, through his dedication to [[Hinduism|Hindu spirituality]], to continue devoting time to the group's "petty squabbles".<ref name="Greene p 116">Greene, p. 116.</ref> In the song's final verse, Harrison provides what [[AllMusic]] critic Bill Janovitz terms a "simple, spiritual sentiment",<ref name="Janovitz/AMG" /> which serves as a statement of his independence from the Beatles:<ref name="Inglis p 25" /><ref name="Spizer p 222">Spizer, p. 222.</ref><ref name="Bergstrom/PM" />

{{quote|''Now I don't need no wah-wah And I know how sweet life can be If I keep myself free …''}}

"Wah-Wah" was never offered to the Beatles once Harrison joined the proceedings at Apple Studio.<ref>Sulpy & Schweighardt, pp. 331–32.</ref> The choice of Harrison songs that would end up on the ''[[Let It Be]]'' album in May 1970 – "I Me Mine" and "[[For You Blue]]" – has led some authors to speculate that he deliberately withdrew his higher-quality compositions rather than risk having them played without the attention they deserved.<ref name="Harris p 68" /><ref name="O'Gorman/Mojo p 73" /><ref>Huntley, p. 27.</ref> Leng lists "Wah-Wah" among a number of solo Beatles songs that are "self-referential" in their lyrical theme and serve as episodes in what he calls "the Beatles soap opera".<ref name="Leng p 85">Leng, p. 85.</ref>{{refn|group=nb|Doggett similarly recognises the self-referential nature of Harrison songs such as "Wah-Wah", "Run of the Mill" and "Isn't It a Pity", all of which offered Beatles fans "a teasing glimpse into an intimate world that had previously been off-limits to the public".<ref>Doggett, pp. 141–42.</ref> Later examples include Lennon's "[[God (John Lennon song)|God]]"<ref>Doggett, p. 142.</ref> and Harrison's "[[Sue Me, Sue You Blues]]",<ref name="MacDonald p 326">MacDonald, p. 326.</ref> and various tracks on McCartney's ''[[Ram (album)|Ram]]'' album and Lennon's ''[[Imagine (John Lennon album)|Imagine]]'', most notably "[[Too Many People]]" and "How Do You Sleep?"<ref name="Inglis p 25" />}} Harrison's bitterness at the restrictions imposed on him during the Beatles years resurfaced explicitly in "[[Who Can See It]]", a song written in 1972.<ref>Leng, pp. 129–30.</ref><ref>Rodriguez, p. 156.</ref>

==Recording==
McCartney's refusal to have the release of his [[McCartney (album)|eponymous first solo album]] delayed until after ''Let It Be'' led to him announcing his departure from the band on 9 April 1970,<ref>Hertsgaard, p. 285.</ref><ref>Doggett, pp. 121–26.</ref> and to Harrison finally deciding to make an album of his many unused songs from the Beatles' later years.<ref>O'Dell, pp. 155–56.</ref><ref name="Spizer p 220" /> He subsequently described the process of recording his songs with outside musicians as "a breath of fresh air".<ref name="Spizer p 220">Spizer, p. 220.</ref> Shortly before starting work on the album, Harrison gave a radio interview to ''[[The Village Voice|Village Voice]]'' reporter Howard Smith,<ref>Badman, p. 6.</ref> and explained that, although he had some ideological differences with Lennon, his objection to any possible Beatles reunion was based solely on his musical differences with McCartney.<ref name="Smith interview">[http://beatlechat.blogspot.com.au/2012/03/its-really-pity.html "It's Really a Pity"], Contra Band Music, 15 March 2012 (retrieved 4 October 2012).</ref><ref>Doggett, pp. 133–34.</ref>{{refn|group=nb|This situation would remain unchanged during a period in the mid 1970s when the other Beatles all began intimating that they would not be opposed to playing together again.<ref>Hertsgaard, p. 311.</ref><ref>Clayson, pp. 351–52.</ref><ref name="Ingham/NME Orig">Chris Hunt (ed.), ''[[NME|NME Originals]]: Beatles – The Solo Years 1970–1980'', IPC Ignite! (London, 2005), p. 12.</ref> Harrison's aversion to working with McCartney was still apparent before and after the band's ''[[The Beatles Anthology|Anthology]]'' project two decades later.<ref>The Editors of ''Rolling Stone'', p. 48.</ref><ref>Peter Doggett, [http://news.bbc.co.uk/today/hi/today/newsid_8243000/8243561.stm "You Never Give Me Your Money"], [[Today (BBC Radio 4)|BBC Radio 4 ''Today'']], 9 September 2009 (retrieved 13 October 2012).</ref><ref>Rodriguez, pp. 24, 195–96.</ref>}}

[[File:Delaney & Bonnie.png|thumb|right|upright|150px|[[Delaney & Bonnie|Delaney and Bonnie Bramlett]], whose [[Soul music|soul]] revue influenced the sound on "Wah-Wah", after Harrison had toured with them in December 1969]]
In the same 1970 radio interview, Harrison announced that he would be co-producing the album with [[Phil Spector]],<ref name="Smith interview" /> whose work on the ''Let It Be'' album had recently enraged McCartney.<ref>Schaffner, p. 138.</ref><ref>Doggett, pp. 130–31.</ref> "Wah-Wah" was the first song taped for ''[[All Things Must Pass]]'',<ref name="Madinger & Easter p 428">Madinger & Easter, p. 428.</ref> recording for which began at [[Abbey Road Studios]] in late May that year.<ref>Badman, p. 10.</ref> In keeping with Spector's signature production style, a large group of musicians took part in the sessions.<ref name="Schaffner p 142">Schaffner, p. 142.</ref> According to Leng and author [[Bruce Spizer]], the musicians on the track were: Harrison and [[Eric Clapton]] on electric guitars, three members of [[Badfinger]] on acoustic rhythm guitars, [[Billy Preston]] and [[Gary Wright]] on keyboards, the former [[Delaney & Bonnie]] horn section of [[Jim Price (musician)|Jim Price]] and [[Bobby Keys]], bassist [[Klaus Voormann]], Starr on drums, and Badfinger's [[Mike Gibbins]] playing tambourine.<ref name="Leng p 85" /><ref name="Spizer p 222" /> While Leng consulted Voormann, Badfinger's [[Joey Molland]] and orchestral arranger [[John Barham]] for his chapter discussing the recording of ''All Things Must Pass'',<ref>Leng, pp. 79–81, 82fn.</ref> [[Bobby Whitlock]], another former sideman with Delaney & Bonnie,<ref>Clayson, p. 288.</ref> has stated that he played electric piano on "Wah-Wah".<ref>Whitlock, pp. 76, 79.</ref><ref>Nick DeRiso, [https://web.archive.org/web/20140228095854/http://somethingelsereviews.com/2014/02/25/gary-wright-robben-ford-alan-white-bobby-whitlock-joey-molland-on-george-harrison/ "Gimme Five: Gary Wright, Robben Ford, Bobby Whitlock, Alan White, Joey Molland on George Harrison"], Something Else!, 25 February 2014 (archived version retrieved 14 July 2016).</ref> Whitlock recalls that, having arrived at the session late due to traffic, and finding that the other musicians were all playing on the [[Beat (music)#Downbeat and upbeat|downbeat]] on the song, he was left to play alone in the obvious "open spot" – on the upbeat.<ref name="Whitlock p 76">Whitlock, p. 76.</ref>{{refn|group=nb|With such a large cast of musicians playing on the album,<ref name="Schaffner p 142" /><ref name="Harris p 72">Harris, p. 72.</ref> specific contributions to each song remain the subject of conjecture.<ref name="Leng p 82fn" /><ref>Rodriguez, p. 76.</ref> While Gary Wright and Bobby Whitlock were the principal keyboard players throughout the ''All Things Must Pass'' sessions,<ref name="Leng p 82fn">Leng, p. 82fn.</ref> Wright has said that the first Harrison recording he played on was "Isn't It a Pity",<ref>Shawn Perry, [http://vintagerock.com/index.php?option=com_content&view=article&id=32:gary-wright&catid=3:interviews&Itemid=4 "The Gary Wright Interview"], vintagerock.com, 2009 (retrieved 1 February 2015).</ref> the session for which is known to have taken place slightly later, on 2 June 1970.<ref>Madinger & Easter, pp. 427, 428.</ref><ref>Spizer, p. 212.</ref>}}

{{quote box|quote= When we recorded Wah-Wah, the sound in your headphones was reasonably dry, but in the control room to hear the playback, the sound was loud and incredible. I loved it but George didn't: "What are you doing to my song?"<ref name="Snow/Mojo p 70">Mat Snow, "George Harrison: Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', November 2014, p. 70.</ref>|source= – [[Klaus Voormann]] to ''[[Mojo (magazine)|Mojo]]'' magazine, November 2014|width=25%|align=left|style=padding:8px;}}
Speaking in 2000 about this first session,<ref name="ATMP EPK">''[[All Things Must Pass#2001|All Things Must Pass (30th Anniversary Edition)]]'' EPK, [[All Things Must Pass#2001|Gnome Records]]/[[EMI]], 2001.</ref> Harrison said that the music sounded "really nice" in the room, "with all these nice acoustics and piano, and no echo on anything", but he was shocked during the playback when he heard how Spector had recorded the track.<ref name="Scorsese LITMW">George Harrison, in ''George Harrison: Living in the Material World'', Disc 2; event occurs between 23:53 and 24:25.</ref> In Leng's words, Spector "[unleashed] his full armory of [[Reverberation|reverb]]-flooded production values" on "Wah-Wah".<ref name="Leng p 85" />{{refn|group=nb|Whitlock writes of entering the studio and hearing Spector calling out a series of instructions to the engineers: "'[[Phaser (effect)|Phase]] the drums,' 'Phase the piano,' followed by 'Phase everything!'"<ref name="Whitlock p 76" />}} Harrison dismissed the result as "horrible", and recalled that when Clapton said he liked the way it sounded, he replied, "Well, you can have it on your album, then."<ref name="Scorsese LITMW" /> Although Harrison said "I grew to like it",<ref name="Scorsese LITMW" /> he subsequently reverted to his original opinion that the song, like much of ''All Things Must Pass'', was overproduced.<ref name="Leng p 85" /><ref name="Eds of RS p 180">The Editors of ''Rolling Stone'', p. 180.</ref> [[Overdubbing|Overdubs]] on many of the album's basic tracks were carried out at either Abbey Road or [[Trident Studios]], without Spector's assistance, and completed by 12 August.<ref name="Madinger & Easter p 427">Madinger & Easter, p. 427.</ref> After receiving Harrison's initial mixes, Spector wrote back with suggestions for each song;<ref name="Spizer p 222" /> in the case of "Wah-Wah", these included the addition of a saxophone solo by Keys, and backing vocals.<ref name="Beatles Bible album">[http://www.beatlesbible.com/people/george-harrison/albums/all-things-must-pass/ "All Things Must Pass (album)"], The Beatles Bible (retrieved 3 February 2015).</ref> As well as overdubbing his [[slide guitar]] solos, Harrison sang all the various vocal parts,<ref name="Whitlock p 79">Whitlock, p. 79.</ref> crediting himself as "the George O'Hara-Smith Singers" on the album sleeve.<ref>Castleman & Podrazik, p. 195.</ref>

The recording begins with Harrison's guitar riff,<ref name="Huntley p 54" /> which is then joined by Clapton's guitar, played through a wah-wah pedal.<ref name="Spizer p 222" /> Leng suggests that the musical arrangement was influenced by the Delaney & Bonnie song "Comin' Home", following Clapton and Harrison's guest roles on the band's European tour in December 1969.<ref name="Leng p 85" /> "Wah-Wah" also features prominent percussion, including uncredited [[maraca]]s and [[conga]]s,<ref name="Inglis p 25" /> and, in Leng's description, a "rollicking horn chart" from Price that helps define the middle-eight sections.<ref name="Leng p 85" /> Adding to the [[Tension (music)|musical tension]], Janovitz notes, Harrison sings high in his range throughout, "almost drowned out" by Spector's [[Wall of Sound]],<ref name="Janovitz/AMG" /> which sees keyboards, horns and the many guitar parts competing for space in the mix.<ref name="Spizer p 222" /> The song fades out on the single-chord main riff, accompanied by the sound of a car engine changing gear.<ref>Clayson, p. 292.</ref>

==Release==
Apple Records issued ''All Things Must Pass'' on 27 November 1970<ref>Castleman & Podrazik, p. 94.</ref> with "Wah-Wah" sequenced as the third track, between "[[My Sweet Lord]]" and "[[Isn't It a Pity]]".<ref name="Spizer p 220" /> Despite its unusually high retail price, as one of rock music's first studio [[Triple album|triple LP]] sets,<ref>Schaffner, p. 140.</ref><ref name="Harris p 73" /> the album was a significant commercial success worldwide,<ref name="Madinger & Easter p 427" /><ref>Rodriguez, pp. 5–6.</ref> and comfortably outperformed Lennon and McCartney's respective solo releases over 1970–71.<ref name="Doggett/RecColl">Peter Doggett, "George Harrison: The Apple Years", ''[[Record Collector]]'', April 2001, p. 37.</ref> Music journalist [[Anthony DeCurtis]] later wrote of the album representing "[the] bracing air of creative liberation" for Harrison.<ref name=RS2000 />

Like "Isn't It a Pity", the song "All Things Must Pass",<ref name=RS2000>Anthony DeCurtis, {{cite web|last=|first=|title=George Harrison ''All Things Must Pass''|publisher=|accessdate=|archiveurl=https://web.archive.org/web/20060814002619/http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass|archivedate=14 August 2006|date=|url=http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass}} ''[[Rolling Stone]]'', 12 October 2000 (retrieved 4 October 2012).</ref> and [[Barry Feinstein]]'s cover photo of Harrison surrounded by four comical-looking garden gnomes,<ref name="Harris p 73">Harris, p. 73.</ref> "Wah-Wah" was recognised as a comment by Harrison on his Beatle past.<ref>Album review by Andrew Gilbert, in Robert Dimery, ''1001 Albums You Must Hear Before You Die'', Universe (New York, NY, 2005); quoted in The Super Seventies "Classic 500", [http://www.superseventies.com/harrison1.html George Harrison – ''All Things Must Pass''] (retrieved 4 October 2012).</ref><ref name="Eds of RS p 40">The Editors of ''Rolling Stone'', p. 40.</ref> In February 1971, he, Lennon and Starr united in the [[High Court of Justice|British high court]] to challenge McCartney's suit to dissolve the band's legal partnership,<ref>Huntley, pp. 65–66.</ref> all three of them submitting [[affidavit]]s that mentioned their difficult experiences of working with him, particularly during the ''Get Back'' sessions.<ref>Badman, pp. 27–28, 31.</ref> In the context of this post-[[The Beatles' break-up|breakup]] unity, "Wah-Wah" was widely assumed to be directed at McCartney only,<ref name="Ingham/NME Orig" /><ref name="Alpert">Neal Alpert, [http://www.gadflyonline.com/12-3-01/music-georgeharrison.html "George Harrison's Concert for Bangladesh"], [[Gadfly Online]], December 2001 (retrieved 5 October 2012).</ref> just as Harrison's walkout two years before was thought to have been due solely to McCartney.<ref name="O'Gorman/Mojo p 73" /><ref name="Huntley p 25" /><ref name="Irvin/Mojo" />

==Reception and legacy==
In his book on the Beatles' first decade as solo artists, Robert Rodriguez includes "Wah-Wah" among the "essential components" of ''All Things Must Pass'', and he recalls the "buzz" surrounding the release as having been "about a major talent unleashed, one who'd [previously] been hidden in plain sight" behind Lennon and McCartney.<ref>Rodriguez, pp. 147, 253.</ref> In a contemporary review for ''[[Rolling Stone]]'', Ben Gerson suggested that the album was the rock-music equivalent of [[Tolstoy]]'s epic novel ''[[War and Peace]]'', while describing "Wah-Wah" as a "vintage Beatle song" and "a grand cacophony of sound in which horns sound like guitars and vice versa".<ref name="Gerson/RS">Ben Gerson, [http://www.rollingstone.com/music/albumreviews/all-things-must-pass-19710121 "George Harrison ''All Things Must Pass''"], ''[[Rolling Stone]]'', 21 January 1971, p. 46 (retrieved 4 February 2015).</ref> By contrast, Alan Smith of the ''NME'' found the dense sound oppressive and regarded the song as "inconsequential … one of the weaker tracks, although it's not short on dressing".<ref name="Smith/NME">Alan Smith, "George Harrison: ''All Things Must Pass'' (Apple)", ''[[NME]]'', 5 December 1970, p. 2; available at [http://www.rocksbackpages.com/article.html?ArticleID=20023 Rock's Backpages] (''subscription required'').</ref>

AllMusic's Bill Janovitz sums up the track as "a glorious rocker ... [that's] as edgy as anything Harrison ever sang while in the Beatles, if not more so", and "a driving, majestic song on the edge of being out of control".<ref name="Janovitz/AMG">Bill Janovitz, [http://www.allmusic.com/song/wah-wah-t743154 "George Harrison 'Wah-Wah'"], [[AllMusic]] (retrieved 25 September 2012).</ref> [[John Bergstrom]] of [[PopMatters]] opines that the best moments on ''All Things Must Pass'' "involve Harrison addressing his former band"; of these, the "raucous, ''killer'' jam" of "Wah-Wah" dismisses the Beatles' strife-filled final years as "so much white noise". While the song is "cutting", Bergstrom adds, "the sense of liberation is almost palpable."<ref name="Bergstrom/PM">John Bergstrom, [http://www.popmatters.com/pm/review/135411-george-harrison-all-things-must-pass/ "George Harrison: All Things Must Pass"], [[PopMatters]], 14 January 2011 (retrieved 4 February 2015).</ref> Writing for [[Rough Guides]], Chris Ingham considers that without Spector's Wall of Sound excesses, ''All Things Must Pass'' "wouldn't be the magnificently overblown item that it is", and he writes of "the sheer size of the sound … threatening to trample both song and singer" in the case of "the thunderous Wah-Wah".<ref>Ingham, pp. 132–33.</ref> Former ''Mojo'' editor [[Paul Du Noyer]] describes the album as "Harrison's handful of earth upon the Beatle coffin", but, less impressed with the composition, he cites "Wah-Wah" as a rare example where "the material is probably too slight to carry the colossal weight of Spector's production".<ref>Paul Du Noyer, [http://www.pauldunoyer.com/pages/journalism/journalism_item.asp?journalismID=237 "George Harrison's All Things Must Pass"], [[Paul Du Noyer|pauldunoyer.com]], 13 March 2009 (retrieved 29 January 2015).</ref>

Among Harrison biographers, Simon Leng writes that the song "trashes the roseate memory of the Beatles". He concludes his discussion of this "unusually heavy chunk of rock" with the observation: "It's a song of anger and alienation, redolent of betrayal and hostility. To that extent, it's a good-time number to rival Delaney & Bonnie, with a heart of pure stone."<ref name="Leng pp 85-86">Leng, pp. 85–86.</ref> Noting the production's "layer upon layer of sonic bombast", Elliot Huntley opines that "Spector fans must have been in seventh heaven" when they first heard "Wah-Wah".<ref name="Huntley p 54" /> Huntley refers to it as "one of the outstanding tracks" of Harrison's career, and a welcome though rare "flat-out, kick-ass rocker" in the singer's canon.<ref name="Huntley p 55" />

Still dissatisfied with Spector's "[[CinemaScope|Cinemascope]]"-like production on "Wah-Wah",<ref name="Eds of RS p 180" /> when ''All Things Must Pass'' was [[All Things Must Pass#2001|reissued]] in January 2001, Harrison admitted that he had been tempted to remix many of the tracks rather than simply [[remaster]] the album's original mixes.<ref>Huntley, pp. 305–06.</ref> In an interview with ''[[Guitar World]]'' magazine to promote the reissue, he also revealed that McCartney had "long since" apologised for his behaviour towards him during the Beatles years.<ref>Huntley, pp. 12, 23–24.</ref> In the 2000 book ''[[The Beatles Anthology (book)|The Beatles Anthology]]'', Harrison comments: "It's important to state that a lot of water has gone under the bridge ... But talking about what was happening at that time [with McCartney, Lennon and Ono], you can see it was strange."<ref>George Harrison, in The Beatles, p. 316.</ref>

==Live version==
On 1 August 1971, Harrison performed "Wah-Wah" as the opening song for the rock-music portion of the two [[The Concert for Bangladesh|Concert for Bangladesh]] shows,<ref name="Madinger & Easter pp 436-37">Madinger & Easter, pp. 436–37.</ref> held at [[Madison Square Garden]] in New York.<ref>Badman, pp. 43–44.</ref> It was therefore the first song he ever played live as a solo artist and, given the humanitarian cause behind the event, [[Alan Clayson]] writes, the New York audience "loved him ... before he'd even plucked a string".<ref>Clayson, p. 312.</ref> The running order of the ''[[The Concert for Bangladesh (album)|Concert for Bangladesh]]'' live album follows the [[Set list|setlist]] for the second show that day,<ref>Madinger & Easter, pp. 436–38.</ref> about which Joshua Greene remarks on the "logical chronology" in Harrison's three-song opening segment: "Wah-Wah" "declared his independence from the Beatles, followed by 'My Sweet Lord,' which declared his internal discovery of God and spirit, and then '[[Awaiting on You All]],' which projected his message to the world."<ref>Greene, p. 190.</ref> Re-creating the Wall of Sound from ''All Things Must Pass'',<ref name="Schaffner, p 147">Schaffner, p. 147.</ref> Harrison was backed by a large band that again included Clapton, Starr, Preston, Voormann and Badfinger,<ref>Richard S. Ginell, [http://www.allmusic.com/album/the-concert-for-bangladesh-r64627/review "George Harrison ''The Concert for Bangladesh''"], [[AllMusic]] (retrieved 5 February 2015).</ref> together with musicians such as Leon Russell, saxophonist [[Jim Horn]] and drummer [[Jim Keltner]],<ref>The Editors of ''Rolling Stone'', pp. 42, 122.</ref> and a group of seven backing singers.<ref>Spizer, p. 241.</ref>

The recording of "Wah-Wah" that appears on the live album was a composite of the audio from both the afternoon and evening shows<ref>Spizer, p. 242.</ref> – one of the few examples of studio manipulation on an otherwise faithful record of the concert.<ref>Madinger & Easter, pp. 436, 438.</ref> Due to technical problems with the film footage, the "Wah-Wah" segment in [[Saul Swimmer]]'s [[The Concert for Bangladesh (film)|concert documentary]] was created through a series of edits and cuts between visuals from the first and second shows.<ref>George Harrison, pp. 60–61.</ref>

Harrison's staging of the two benefit concerts enhanced his standing as the most popular of the former Beatles;<ref name="Doggett/RecColl" /><ref>Harris, pp. 73–74.</ref><ref>Schaffner, pp. 147, 159.</ref> Doggett describes him as having become "arguably music's most influential figure" over this period.<ref>Doggett, p. 175.</ref> In a laudatory review of the ''Concert for Bangladesh'' album, for ''Rolling Stone'',<ref>Spizer, p. 246.</ref><ref>Huntley, pp. 80–81.</ref> [[Jon Landau]] described "Wah-Wah" as "a simple statement by a musician who knows who he is and what he wants to play".<ref name="Landau RS">Jon Landau, [http://www.rollingstone.com/music/albumreviews/concert-for-bangladesh-19720203 "George Harrison, ''Concert for Bangla Desh''"], ''[[Rolling Stone]]'', 3 February 1972 (retrieved 6 October 2012).</ref> Like Rodriguez, who considers that the song "truly [came] into its own" that day,<ref name="Rodriguez p 381" /> Andrew Grant Jackson views this live reading as superior to the studio recording. He writes: "The live version is a notch slower, and the cleaner mix allows breathing room to hear the space between the instruments. And more importantly, there's the euphoria of the performance itself."<ref name="Jackson/RS" />

==Cover versions==
On 29 November 2002, exactly a year after his death from cancer, "Wah-Wah" was the last Harrison composition performed at the [[Concert for George]], held at London's [[Royal Albert Hall]].<ref>Inglis, p. 127.</ref> [[Jeff Lynne]], Eric Clapton and [[Andy Fairweather-Low]] shared lead vocals on the song.<ref name=george>Stephen Thomas Erlewine, [http://www.allmusic.com/album/concert-for-george-r669282/review "Original Soundtrack ''Concert for George''"], [[AllMusic]] (retrieved 8 October 2012).</ref> The band also featured Harrison's son [[Dhani Harrison|Dhani]] and many other close musical friends – Starr, Voormann, Keltner, Horn, [[Ray Cooper]], [[Gary Brooker]] and [[Tom Petty]] among them – as well as Paul McCartney.<ref>''[[Concert for George (film)|Concert for George]]'' DVD ([[Warner Strategic Marketing]], 2003; directed by David Leland; produced by Ray Cooper, Olivia Harrison, Jon Kamen & Brian Roylance).</ref><ref>Leng, pp. 310–11.</ref> This performance was released on the [[Concert for George (album)|album of the concert]];<ref name=george/> although left off the theatrical release of [[David Leland]]'s ''[[Concert for George (film)|Concert for George]]'' documentary film, it was subsequently included on the DVD release.<ref>William Ruhlmann, [http://www.allmusic.com/album/concert-for-george-mw0000997603 Various Artists ''A Concert for George'' (Video)"], [[AllMusic]] (retrieved 16 July 2015).</ref>

Alternative band [[B.A.L.L.]] covered "Wah-Wah" on their 1988 album ''[[Bird (B.A.L.L. album)|Bird]]'', as part of their parody of early 1970s rock stars such as the former Beatles.<ref name="trouserpress">Glenn Kenny, [http://trouserpress.com/entry.php?a=ball "B.A.L.L."], ''[[Trouser Press]]'', 2007 (retrieved 11 December 2015).</ref> [[Buffalo Tom]] recorded "Wah-Wah" live on [[WMBR]] in [[Cambridge, Massachusetts]] in January 1991, a version that appeared on the band's ''Fortune Teller'' EP later that year.<ref>[http://www.discogs.com/Buffalo-Tom-Fortune-Teller/release/1308737 "Buffalo Tom – Fortune Teller"], [[Discogs]] (retrieved 12 January 2013).</ref> [[Ocean Colour Scene]] covered the song on their 2005 album ''[[A Hyperactive Workout for the Flying Squad]]'',<ref>Stephen Thomas Erlewine, [http://www.allmusic.com/album/a-hyperactive-workout-for-the-flying-squad-r731092 "Ocean Colour Scene ''A Hyperactive Workout for the Flying Squad''"], [[AllMusic]] (retrieved 8 October 2012).</ref><ref>[http://www.secondhandsongs.com/performance/33259 "''A Hyperactive Workout for the Flying Squad'' – Ocean Colour Scene"], Second Hand Songs (retrieved 6 October 2012).</ref> and in 2011 former [[Jefferson Starship]] vocalist [[Mickey Thomas (singer)|Mickey Thomas]] released a version on his album ''Marauder''.<ref>William Ruhlmann, [http://www.allmusic.com/album/marauder-mw0002100706 "Mickey Thomas ''Marauder''"], [[AllMusic]] (retrieved 25 September 2012).</ref>

The [[Tedeschi Trucks Band]] have often included "Wah-Wah" in their live performances.<ref>Nicole Pensiero, [http://www.philly.com/philly/entertainment/music/20141128_Featured_pop_shows__Tedeschi_Trucks_Band__Paul_Jost__and_David_Bromberg.html "Featured pop shows: Tedeschi Trucks Band, Paul Jost, and David Bromberg"], [[philly.com]], 28 November 2014 (retrieved 1 February 2015).</ref><ref>Craig Young, [http://nodepression.com/video/tedeschi-trucks-band-wah-wah "Tedeschi Trucks Band – 'Wah Wah'"], [[No Depression (magazine)|No Depression]], 16 November 2013 (retrieved 1 February 2015).</ref> [[Beck]] performed the song on the US television show ''[[Conan (talk show)|Conan]]'' in September 2014,<ref>Evan Minsker, [http://pitchfork.com/news/56820-beck-covers-george-harrisons-wah-wah-on-conan/ "Beck Covers George Harrison's 'Wah-Wah' on 'Conan'"], [[Pitchfork Media]], 22 September 2014 (retrieved 25 September 2014).</ref> as part of a week-long promotion for Harrison's ''[[The Apple Years 1968–75|The Apple Years]]'' box set.<ref name="Strecker/BB">Erin Strecker, [http://www.billboard.com/articles/news/6259313/paul-simon-here-comes-the-sun-conan "Paul Simon Performs 'Here Comes The Sun' for George Harrison Week on 'Conan'"], [[Billboard (magazine)|billboard.com]], 24 September 2014 (retrieved 25 September 2014).</ref> [[Nick Valensi]] of [[the Strokes]] covered "Wah-Wah" at the George Fest tribute concert that same month,<ref>Lindsey Best, [http://www.huffingtonpost.com/lindsey-best/the-best-fests-george-fes_b_5932370.html "The Best Fest's George Fest 2014"], [[The Huffington Post]], 6 October 2014 (retrieved 17 July 2015).</ref> with [[Matt Sorum]], of [[Guns N' Roses]] and [[Velvet Revolver]].<ref>Bailey Pennick, [http://floodmagazine.com/1854/live-dhani-harrison-and-friends-come-together-to-celebrate-george-harrison-for-jamesons-george-fest-92814/ "LIVE: Dhani Harrison and Friends Come Together to Celebrate George Harrison for Jameson's 'George Fest' (9/28/14)"], floodmagazine.com, 30 September 2014 (retrieved 17 July 2015).</ref>

==Personnel==
The following musicians are believed to have played on the studio version of "Wah-Wah":<ref name="Leng p 85" />

*[[George Harrison]] – vocals, electric guitar, [[slide guitar]], backing vocals
*[[Eric Clapton]] – electric guitar
*[[Billy Preston]] – electric piano
*[[Gary Wright]] – piano
*[[Pete Ham]] – acoustic guitar
*[[Tom Evans (musician)|Tom Evans]] – acoustic guitar
*[[Joey Molland]] – acoustic guitar
*[[Klaus Voormann]] – bass
*[[Ringo Starr]] – drums
*[[Bobby Keys]] – saxophones
*[[Jim Price (musician)|Jim Price]] – trumpet, horn arrangement
*[[Mike Gibbins]] – tambourine
*Phil Collins – [[maraca]]s, [[conga]]s

==Notes==
{{reflist|2|group=nb}}

==References==
{{reflist|3}}

==Sources==
{{refbegin}}
* Keith Badman, ''The Beatles Diary Volume 2: After the Break-Up 1970–2001'', Omnibus Press (London, 2001; {{ISBN|0-7119-8307-0}}).
* The Beatles, ''The Beatles Anthology'', Chronicle Books (San Francisco, CA, 2000; {{ISBN|0-8118-2684-8}}).
* Harry Castleman & Walter J. Podrazik, ''All Together Now: The First Complete Beatles Discography 1961–1975'', Ballantine Books (New York, NY, 1976; {{ISBN|0-345-25680-8}}).
* Alan Clayson, ''George Harrison'', Sanctuary (London, 2003; {{ISBN|1-86074-489-3}}).
* Peter Doggett, ''You Never Give Me Your Money: The Beatles After the Breakup'', It Books (New York, NY, 2011; {{ISBN|978-0-06-177418-8}}).
* The Editors of ''Rolling Stone'', ''Harrison'', Rolling Stone Press/Simon & Schuster (New York, NY, 2002; {{ISBN|0-7432-3581-9}}).
* Anthony Fawcett, ''John Lennon: One Day at a Time'', New English Library (London, 1977; {{ISBN|978-0-450-03073-4}}).
* ''[[George Harrison: Living in the Material World]]'' DVD, [[Village Roadshow]], 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).
* Joshua M. Greene, ''Here Comes the Sun: The Spiritual and Musical Journey of George Harrison'', John Wiley & Sons (Hoboken, NJ, 2006; {{ISBN|978-0-470-12780-3}}).
* John Harris, "A Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', July 2001, pp. 66–74.
* George Harrison, ''I Me Mine'', Chronicle Books (San Francisco, CA, 2002; {{ISBN|0-8118-3793-9}}).
* Olivia Harrison, ''George Harrison: Living in the Material World'', Abrams (New York, NY, 2011; {{ISBN|978-1-4197-0220-4}}).
* Mark Hertsgaard, ''A Day in the Life: The Music and Artistry of the Beatles'', Pan Books (London, 1996; {{ISBN|0-330-33891-9}}).
* Elliot J. Huntley, ''Mystical One: George Harrison – After the Break-up of the Beatles'', Guernica Editions (Toronto, ON, 2006; {{ISBN|1-55071-197-0}}).
* Chris Ingham, ''The Rough Guide to the Beatles'', Rough Guides/Penguin (London, 2006; 2nd edn; {{ISBN|978-1-8483-6525-4}}).
* Ian Inglis, ''The Words and Music of George Harrison'', Praeger (Santa Barbara, CA, 2010; {{ISBN|978-0-313-37532-3}}).
* Simon Leng, ''While My Guitar Gently Weeps: The Music of George Harrison'', Hal Leonard (Milwaukee, WI, 2006; {{ISBN|1-4234-0609-5}}).
* Ian MacDonald, ''Revolution in the Head: The Beatles' Records and the Sixties'', Pimlico (London, 1998; {{ISBN|0-7126-6697-4}}).
* Chip Madinger & Mark Easter, ''Eight Arms to Hold You: The Solo Beatles Compendium'', 44.1 Productions (Chesterfield, MO, 2000; {{ISBN|0-615-11724-4}}).
* Wilfrid Mellers, ''The Music of the Beatles: Twilight of the Gods'', Schirmer Books (New York, NY, 1973; {{ISBN|0-670-73598-1}}).
* Barry Miles, ''The Beatles Diary Volume 1: The Beatles Years'', Omnibus Press (London, 2001; {{ISBN|0-7119-8308-9}}).
* ''[[Mojo (magazine)|Mojo]]: The Beatles' Final Years Special Edition'', Emap (London, 2003).
* Chris O'Dell (with Katherine Ketcham), ''Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved'', Touchstone (New York, NY, 2009; {{ISBN|978-1-4165-9093-4}}).
* Robert Rodriguez, ''Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980'', Backbeat Books (Milwaukee, WI, 2010; {{ISBN|978-1-4165-9093-4}}).
* Nicholas Schaffner, ''The Beatles Forever'', McGraw-Hill (New York, NY, 1978; {{ISBN|0-07-055087-5}}).
* Bruce Spizer, ''The Beatles Solo on Apple Records'', 498 Productions (New Orleans, LA, 2005; {{ISBN|0-9662649-5-9}}).
* Doug Sulpy & Ray Schweighardt, ''Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster'', St. Martin's Griffin (New York, 1997; {{ISBN|0-312-19981-3}}).
* Bobby Whitlock (with Marc Roberty), ''Bobby Whitlock: A Rock 'n' Roll Autobiography'', McFarland (Jefferson, NC, 2010; {{ISBN|978-0-7864-6190-5}}).
* John C. Winn, ''That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970'', Three Rivers Press (New York, NY, 2009; {{ISBN|978-0-3074-5239-9}}).
{{refend}}

[[Category:1970 songs]]
[[Category:George Harrison songs]]
[[Category:Songs written by George Harrison]]
[[Category:Song recordings produced by George Harrison]]
[[Category:Song recordings produced by Phil Spector]]
[[Category:Music published by Harrisongs]]
[[Category:Song recordings with Wall of Sound arrangements]]
[[Category:Eric Clapton songs]]
[[Category:Ocean Colour Scene songs]]