he would swipe back at the legendary bass player<\/a>, writing lines about how McCartney doesn\u2019t hear him crying or sighing.<\/p>\nOnce the rest of The Beatles arrived at his house, Harrison was convinced to return to the fold. Although he would eventually give up great material like \u2018Here Comes the Sun\u2019 and \u2018Something\u2019, most of Harrison\u2019s back catalogue was reserved for his debut solo album, All Things Must Pass.<\/p>\n
Used as a way to get all of his songs into the open, the triple album experience comprises the best pieces of Harrison\u2019s songwriting, from tracks about spirituality like \u2018My Sweet Lord\u2019 to the fallout of his old band on the title track. Not having to cower to McCartney\u2019s rules anymore, \u2018Wah-Wah\u2019 took a prime spot on the track listing\u2026though not without its fair share of problems.<\/p>\n
At that point, All Things Must Pass wasn\u2019t just an album, it was a release valve. Years of pent-up frustration and sidelined material were finally spilling out, and there was a sense that Harrison was determined to make every track count after being kept on the periphery for so long.<\/p>\n
That urgency is what makes a song like \u2018Wah-Wah\u2019 feel so immediate. It isn\u2019t just a swipe at McCartney or a relic of the band\u2019s internal tensions; it\u2019s Harrison reclaiming his voice in real time, putting his grievances front and centre without having to filter them through the Lennon-McCartney machine.<\/p>\n
In that context, the production choices almost become secondary to the intent behind the music. Whether drenched in Spector\u2019s reverb or stripped back to something more natural, the core of the song remains the same, a snapshot of Harrison stepping out from the shadow of The Beatles and finally saying exactly what he meant.<\/p>\n
Needing a producer, Harrison decided to work alongside famous \u201cWall of Sound\u201d producer Phil Spector. When first talking to Harrison about his songs, Spector recalled the vast amount of material he had to work with, telling Martin Scorsese in Living in the Material World, \u201cI went to George\u2019s house, and he said, \u2018I have some ditties to play for you\u2019. It was endless. He had literally hundreds of songs, and each one was better than the rest.\u201d<\/p>\n
While Harrison was not going to rest until his songs sounded the way he intended, he was horrified by the original version of \u2018Wah-Wah\u2019. Recalling years later, Harrison said that he thought that the reverb was horrible, recalling in a retrospective interview, \u201cIt sounded nice in the studio, no echo on it or anything. We went in to listen to it, and I thought, \u2018I hate it. It\u2019s so horrible\u2019. Then Eric [Clapton] said, \u2018Oh, I love it\u2019. So I said, \u2018Well, you can have it on your album then\u2019, but I grew to like it.\u201d<\/p>\n
Despite Harrison\u2019s objections, Spector\u2019s signature style would become a crucial part of the album\u2019s sound, with heavy amounts of echo in most of his classic songs. Since he had some issues with the final product, Harrison took it upon himself to make his songs sound slightly different on the album Living in the Material World. <\/p>\n
Being a more spiritual companion piece to his debut, Harrison\u2019s second album benefits from a slightly crisp production, letting the listener take in the sounds of musicians playing in the room. Harrison\u2019s audience may have heard \u2018Wah-Wah\u2019 as he intended, but there\u2019s still a bit of magic to hearing the band at full blast with Spector\u2019s production touches.<\/p>\n<\/p>\n
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