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{{Use dmy dates|date=July 2020}}
{{Use British English|date=November 2010}}
{{Infobox album
| name         = Wonderwall Music
| type         = soundtrack
| longtype = / [[studio album]]
| artist       = [[George Harrison]]
| cover        = sapcor1_a.jpg
| border       = yes
| alt          = the cover image is divided in two by a red brick wall with a single brick removed. On the left, a man in a business suit stands in a drab, empty space. On the right, naked women frolic in a pond in a colorful landscape.
| released     = {{Start date|df=yes|1968|11|01}}
| recorded     = 22 November 1967{{snd}}11 February 1968
| venue        = 
| studio       = * [[Abbey Road Studios|EMI]] and [[De Lane Lea Studios|De Lane Lea]] (London)
* [[Saregama|His Master's Voice]] ([[Mumbai|Bombay]])
| genre        = * [[Indian classical music|Indian classical]]<ref name="Dale/Uncut UMG">Jon Dale, "George Solo: Wonderwall Music", ''[[Uncut (magazine)|Uncut Ultimate Music Guide: George Harrison]]'', TI Media (London, 2018), pp. 38–39.</ref>
* [[raga rock]]{{sfn|Schaffner|1982|p=301}}
* [[Experimental music|experimental]]
* [[World music|world]]
| length       = {{Duration|m=45|s=43}}
| label        = [[Apple Records|Apple]]
| producer     = [[George Harrison]]
| prev_title   = 
| prev_year    = 
| next_title   = [[Electronic Sound]]
| next_year    = 1969
}}
'''''Wonderwall Music''''' is the debut solo album by the English musician [[George Harrison]] and the [[soundtrack]] to the 1968 film ''[[Wonderwall (film)|Wonderwall]]'', directed by [[Joe Massot]]. Released in November 1968, it was the first solo album by a member of [[the Beatles]], and the first album issued on the band's [[Apple Records|Apple]] record label. The tracks are mostly [[instrumental]] pieces, with some featuring non-English language vocals and one track with English lyrics, mostly short musical vignettes. Following his Indian-styled songs for the Beatles since 1966, he used the film score to further promote [[Indian classical music]] by introducing rock audiences to instruments that were relatively little-known in the West – including [[shehnai]], [[sarod]], [[tar shehnai]], [[tanpura]] and [[santoor]]. The Indian pieces are contrasted by Western musical selections, in the [[psychedelic rock]], [[Experimental music|experimental]], [[Country music|country]] and [[Ragtime music|ragtime]] styles.

Harrison recorded the album between November 1967 and February 1968, with sessions taking place in London and [[Bombay]]. One of his collaborators on the project was classical pianist and orchestral arranger [[John Barham]], while other contributors include Indian classical musicians [[Aashish Khan]], [[Shivkumar Sharma]], [[Shankar Ghosh (musician)|Shankar Ghosh]] and Mahapurush Misra. The Western music features contributions from [[Tony Ashton]] and his band [[the Remo Four]], as well as guest appearances by [[Eric Clapton]] and [[Ringo Starr]]. Harrison recorded many other pieces that appeared in ''Wonderwall'' but not on the soundtrack album, and the Beatles' 1968 B-side "[[The Inner Light (song)|The Inner Light]]" also originated from his time in Bombay. Although the ''Wonderwall'' project marked the end of Harrison's direct involvement with Indian music as a musician and songwriter, it inspired his later collaborations with [[Ravi Shankar]], including the 1974 [[Ravi Shankar's Music Festival from India|Music Festival from India]].

The album cover consists of a painting by American artist [[Bob Gill (artist)|Bob Gill]] in which, as in Massot's film, two contrasting worlds are separated by a wall, with only a small gap allowing visual access between them. Harrison omitted his name from the list of performing musicians, leading to an assumption that he had merely produced and arranged the music. The 2014 reissue of ''Wonderwall Music'' recognises his contributions on keyboards and guitar. The album was first remastered for CD release in 1992, for which former Apple executive [[Derek Taylor]] supplied a liner-note essay.

While viewed as a curiosity by some rock music critics, ''Wonderwall Music'' is recognised for its inventiveness in fusing Western and Eastern sounds, and as being a precursor to the 1980s [[world music]] trend. The album's title inspired that of [[Oasis (band)|Oasis]]' 1995 hit song "[[Wonderwall (song)|Wonderwall]]". Harrison's full soundtrack for the film was made available on DVD in early 2014, as part of the two-disc ''Wonderwall Collector's Edition''. In September that year, the album was reissued in remastered form as part of Harrison's ''[[The Apple Years 1968–75|Apple Years 1968–75]]'' box set, with the addition of three bonus tracks.

==Background==
[[George Harrison]] first met [[Joe Massot]] while [[the Beatles]] were filming ''[[Help! (film)|Help!]]'' in early 1965. He agreed to write the musical score for Massot's film ''[[Wonderwall (film)|Wonderwall]]'' in October 1967, after [[the Bee Gees]] had become unavailable.{{sfn|Clayson|2003|p=234}} It was Harrison's first formal music project outside the Beatles{{sfn|Greene|2006|p=91}} and coincided with his continued immersion in [[Indian classical music]].{{sfn|Inglis|2010|pp=16-17}} Since 1966, this association with India had given Harrison a distinct musical identity beside the band's primary songwriters, [[John Lennon]] and [[Paul McCartney]].{{sfn|Schaffner|1978|pp=63, 66}} While he had minimal interest in the Beatles' main projects during 1967{{sfn|Ingham|2006|p=55}} – the album ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' and their television film ''[[Magical Mystery Tour (film)|Magical Mystery Tour]]''{{sfn|Leng|2006|p=47}}{{sfn|MacDonald|1998|pp=209, 236, 240}} – Harrison led the group in terms of their shared philosophical direction,<ref>Will Hermes, [https://books.google.com/books?id=qK2SnZnMMaoC&q=Maharishi "George Harrison 1943–2001"], ''[[Spin (magazine)|Spin]]'', February 2002, p. 22 (retrieved 12 May 2017).</ref>{{sfn|The Editors of ''Rolling Stone''|2002|p=36}} as his bandmates followed him in embracing [[Transcendental Meditation]] under the guidance of [[Maharishi Mahesh Yogi]].<ref>Nick Jones, "Beatle George and Where He's At", ''[[Melody Maker]]'', 16 December 1967, pp. 8–9; available at [http://www.rocksbackpages.com/Library/Article/beatle-george-and-where-hes-at Rock's Backpages] (subscription required).</ref><ref name="Rabey/HuffPost">Steve Rabey, [https://web.archive.org/web/20150924150545/http://www.huffingtonpost.com/2011/10/09/george-harrison-living-in-the-material-world_n_1001707.html "George Harrison, 'Living in the Material World'"], ''[[The Huffington Post]]'', 9 October 2011 (archived version retrieved 12 May 2017).</ref>

Harrison viewed ''Wonderwall'' at [[Twickenham Film Studios]] with Massot{{sfn|Spizer|2005|p=206}} and was intrigued by the storyline.{{sfn|Leng|2006|p=47}} The film's premise concerns a lonely professor (played by Irish actor [[Jack MacGowran]]) and his increasing obsession with his female neighbour, a fashion model{{sfn|Leng|2006|p=47}} named Penny Lane (played by [[Jane Birkin]]),{{sfn|Howlett|2014|p=12}} whom he spies on via a hole in the wall separating their apartments.{{sfn|Lavezzoli|2006|p=182}} In the context of 1960s [[Swinging London]], the contrast between their existences symbolised the division between traditional norms and the younger generation's progressive thinking.{{sfn|Madinger|Easter|2000|p=419}}<ref name="Bierman/Magnet" /> In his soundtrack for the film, Harrison conveyed this contrast further in terms of the duality between [[psychedelia]] and his [[Hinduism|Hindu]]-aligned spiritual convictions.<ref name="Bierman/Magnet" /> According to author Simon Leng: "The lack of dialogue left acres of room for music to speak, and a soupçon of cosmic apotheosis also helped ... ''Wonderwall'' touched on themes that would come to preoccupy George Harrison – critically, the objectification of celebrities and the shallowness of fame."{{sfn|Leng|2006|p=47}}

==Concept and composition==
{{quote box|quote= I was getting so into Indian music by then that I decided to use the assignment as an excuse for a musical anthology to help spread the word.<ref name="Clayson/OffTheWall" />|source= – George Harrison to ''[[Musician (magazine)|Musician]]'' magazine, November 1987|width=25%|align=left|style=padding:8px;}}
Given full artistic control by Massot,{{sfn|Howlett|2014|pp=5, 12}} Harrison approached the project as an opportunity to further educate rock and pop audiences in aspects of Indian music.{{sfn|Leng|2006|p=48}}<ref name="GH/Anthol">George Harrison, in The Beatles, p. 280.</ref> Having incorporated [[sitar]], [[tanpura]], [[swarmandal]], [[dilruba]] and [[tabla]] in his work with the Beatles,{{sfn|MacDonald|1998|pp=164, 172, 194, 215}} Harrison sought to include less well-known Indian musical instruments.{{sfn|Lavezzoli|2006|pp=175, 178, 182, 183}}<ref name="White/Musician p 56">Timothy White, "George Harrison – Reconsidered", ''[[Musician (magazine)|Musician]]'', November 1987, p. 56.</ref> Among these, the [[oboe]]-like [[shehnai]], traditionally used in religious ceremonies,{{sfn|Lavezzoli|2006|p=32}}<ref>''Collaborations'', p. 47.</ref> was an instrument that Harrison had enthused about after seeing [[Bismillah Khan]] perform at the [[Hollywood Bowl]] in August 1967.{{sfn|Winn|2009|p=116}} Also prominent on the soundtrack is the [[tar shehnai]], a bow-played string instrument that is similar to an [[esraj]].<ref name="Hurwitz" /> Other instrumentation introduced on ''Wonderwall Music'' includes the [[sarod]], similar to a [[lute]], and the [[santoor]],<ref name="White/Musician p 56" />{{sfn|Leng|2006|pp=26, 49}} a type of [[hammered dulcimer]] with up to 100 strings.{{sfn|Lavezzoli|2006|pp=32-33}} Having used personnel from the [[Asian Music Circle]] in north London on his Beatles songs "[[Love You To]]" and "[[Within You Without You]]", in addition to his own sitar playing,{{sfn|MacDonald|1998|pp=172, 215}}{{sfn|Lavezzoli|2006|pp=176, 178}} Harrison decided to record part of the soundtrack in [[Bombay]], the centre of India's film industry,<ref>''World Music: The Rough Guide'', p. 102.</ref> in order to work with some of the country's best musicians.{{sfn|Leng|2006|p=48}}

The ''Wonderwall'' score was Harrison's first opportunity to compose extensively for a single project.{{sfn|Rodriguez|2010|p=9}} He later described how he went about preparing the music: "I had a regular wind-up stopwatch and I watched the film to 'spot-in' the music with the watch. I wrote the timings down in my book, then I'd go to [the recording studio], make up a piece, record it."<ref name="Taylor/Wonderwall CD" /> As with his songs for the Beatles over this period,<ref>Richie Unterberger, [https://web.archive.org/web/20210224151617/https://www.allmusic.com/album/yellow-submarine-mw0000668441 "The Beatles ''Yellow Submarine''"], [[AllMusic]] (archived version retrieved 24 February 2021).</ref> including "Within You Without You"{{sfn|The Editors of ''Rolling Stone''|2002|p=174}} and "[[Blue Jay Way]]", he composed mainly on keyboard instruments such as piano or organ, rather than guitar.{{sfn|Leng|2006|pp=32, 50}} In addition to the Indian pieces, Harrison wrote and arranged selections in Western musical styles.{{sfn|Leng|2006|p=49}}{{sfn|Inglis|2010|p=17}} In some cases, these pieces were outlined to the musicians at the recording session by Harrison, on guitar, and they then improvised on his ideas.<ref name="Hurwitz">Matt Hurwitz, [https://web.archive.org/web/20151104113245/http://www.georgeharrison.com/albums/wonderwall-music/ "Wonderwall Music"], georgeharrison.com (archived version retrieved 1 February 2021).</ref> With other selections, he first made a [[Demo (music)|demo]], which the musicians followed.<ref name="Clayson/OffTheWall" />

Harrison collaborated on much of the project with [[John Barham]],{{sfn|Leng|2006|pp=49–50}}<ref name="Snow/Mojo">Mat Snow, "George Harrison: Quiet Storm", ''[[Mojo (magazine)|Mojo]]'', November 2014, p. 69.</ref> who had studied composition under Harrison's sitar teacher, [[Ravi Shankar]].{{sfn|Lavezzoli|2006|pp=62, 180, 182}} A classically trained pianist and musical arranger, Barham notated some of the melodies that Harrison sang to him and transcribed them onto [[Staff (music)|staves]].<ref name="Clayson/OffTheWall" /> Leng describes Barham as Harrison's "fellow traveler", due to the two musicians' shared appreciation of Indian classical music.{{sfn|Leng|2006|pp=26-27}} He adds that their musical compatibility made Barham a natural choice over [[George Martin]], the Beatles' producer and orchestral arranger.{{sfn|Leng|2006|pp=49–50}}{{refn|group=nb|The ''Wonderwall'' sessions were officially Harrison's first as a producer, although he had directed the recording of "Love You To" and "Within You Without You" over 1966–67 with minimal input from Martin and the other Beatles.{{sfn|Ingham|2006|p=154}}}}

==Recording==
===London, November 1967 – January 1968===
[[File:Wonderwall by George Harrison.jpg|thumb|left|upright=0.6|''[[Billboard (magazine)|Billboard]]'' ad for ''Wonderwall Music'', December 1968]]
The first session for the ''Wonderwall'' soundtrack took place on 22 November 1967{{sfn|Everett|1999|p=151}} at EMI Studios (now [[Abbey Road Studios]]) in London.{{sfn|Miles|2001|p=283}} That day, Harrison recorded with a tabla player and flautists [[Richard Adeney]] and Jack Ellory,{{sfn|Harry|2003|p=393}} taping the pieces "Swordfencing", "India", "Backwards Tabla" and "Backwards Tones".{{sfn|Madinger|Easter|2000|p=419}} On 23 November, he carried out further work on some of these selections,{{sfn|Madinger|Easter|2000|p=419}} with two oboe players, a trumpeter and two flautists.{{sfn|Harry|2003|p=393}} Authors Chip Madinger and Mark Easter state that some of these recordings may have been used as musical cues in the film but excluded from the soundtrack album, while "Swordfencing" was a piece that Harrison incorporated into "[[Dream Scene (song)|Dream Scene]]" on the album.{{sfn|Madinger|Easter|2000|p=419}}{{refn|group=nb|According to Madinger and Easter, in addition to most of what appears on the album, the ''Wonderwall'' film contained nineteen of Harrison's "musical cues and tracks&nbsp;... ranging anywhere from ten seconds to a couple of minutes in length" that were omitted from the soundtrack album.{{sfn|Madinger|Easter|2000|p=420}}}} Over this period, Harrison also worked at a second London location,{{sfn|Madinger|Easter|2000|p=419}} [[De Lane Lea Studios]].{{sfn|Harry|2003|p=393}} According to a contemporary issue of ''[[Beatles Monthly]]'' magazine, the sessions continued at Abbey Road on 11, 20 and 31 December.{{sfn|Madinger|Easter|2000|p=419}}

The contributing musicians included Indian [[sarod]]ya [[Aashish Khan]] and [[tabla|tablist]] Mahapurush Misra,{{sfn|Castleman|Podrazik|1976|p=198}} the last of whom was the regular accompanist to Khan's father, [[Ali Akbar Khan]].{{sfn|Lavezzoli|2006|pp=66, 182}} Aashish Khan and Misra's contributions were recorded at Abbey Road, rather than later in India,{{sfn|Leng|2006|p=34fn}} since the pair were performing in London in December 1967.{{sfn|Howlett|2014|p=8}} Barham attended this session and also contributed to some of the Western recordings for ''Wonderwall'', playing piano, [[Pump organ|harmonium]] and [[flugelhorn]], and providing orchestral arrangements for flutes, oboes and trumpet.{{sfn|Spizer|2005|pp=206-207}} Another session with some unnamed Indian musicians took place on 5 January 1968.{{sfn|Everett|1999|p=151}}

The main participants on the Western pieces were [[the Remo Four]],{{sfn|Spizer|2005|p=206}} whose first session with Harrison was on 22 December.<ref name="Hurwitz" /> The band were an instrumental group from Liverpool{{sfn|Clayson|2003|pp=82, 235}} that had toured with the Beatles in 1964{{sfn|Miles|2001|p=173}} and comprised Colin Manley (guitar), [[Tony Ashton]] (keyboards), Phillip Rogers (bass) and [[Roy Dyke]] (drums).{{sfn|Spizer|2005|p=206}} Ashton contributed on [[tack piano|tack]] (or jangle) piano and organ,{{sfn|Castleman|Podrazik|1976|p=198}} and played the majority of the [[Mellotron]] parts that are prominent on the album.{{sfn|Howlett|2014|p=10}}

[[Ringo Starr]] and [[Eric Clapton]] joined Harrison to record "Ski-ing"{{sfn|Lavezzoli|2006|p=182}} on 2–3 January.<ref name="Hurwitz" /> Credited only on the US release,{{sfn|Madinger|Easter|2000|p=420}} under the pseudonym "Eddie Clayton",{{sfn|Rodriguez|2010|p=71}} Clapton's appearance marked the first of several collaborations between him and Harrison over 1968–71.{{sfn|Rodriguez|2010|pp=71-72}}{{sfn|Everett|1999|pp=152, 305–06}} [[Peter Tork]] of [[the Monkees]] played [[banjo]],{{sfn|Rodriguez|2010|pp=9, 71}} although his contribution, recorded in December 1967, was to a track that only appeared in the film.<ref name="Thomson/Guardian">Graeme Thomson, [https://web.archive.org/web/20170526124129/https://www.theguardian.com/music/2017/mar/23/maccas-banjo-mellotron-and-a-monkee-the-story-of-george-harrisons-wonderwall-music "Macca's banjo, Mellotron and a Monkee: The story of George Harrison's Wonderwall Music"], ''[[The Guardian]]'', 24 March 2017 (archived version retrieved 26 May 2017).</ref>
{{Clear}}

===Bombay, January 1968===
{{quote box|quote= It was fantastic really. The studio is on top of the offices&nbsp;... [and] if you listen closely to some of the Indian tracks on the LP you can hear taxis going by&nbsp;... I mixed everything as we did it there, and that was nice enough because you get spoiled working on eight and sixteen tracks.<ref name="Taylor/Wonderwall CD" />|source= – Harrison in 1992, recalling the primitive recording facilities at [[Saregama|His Master's Voice]] studios in Bombay|width=25%|align=right|style=padding:8px;}}
Harrison recorded the rest of the Indian selections between 9 and 13 January at His Master's Voice in Bombay.{{sfn|Everett|1999|p=151}} In contrast to the [[multitrack recording]] carried out at Abbey Road, the music was captured on a two-track tape machine,{{sfn|Spizer|2005|p=206}} which replaced the studio's usual [[Monaural|mono]] equipment.<ref name="GH/Anthol" /> Harrison recalled that EMI India's managing director, [[Bhaskar Menon]], personally delivered this machine, a STEEDS [[Stereophonic sound|stereo]] recorder, by train from Calcutta.<ref name="GH/Anthol" /> The Bombay studio's [[soundproofing]] was similarly inadequate,{{sfn|Clayson|2003|p=235}} resulting in traffic noise from the street below appearing on pieces such as "In the Park".{{sfn|Madinger|Easter|2000|p=421}}

On 10 January, [[Reuters]] and [[BBC News]] filmed Harrison working with three of the Indian musicians at His Master's Voice. A brief portion of this footage was broadcast in Britain on 11 January.{{sfn|Winn|2009|p=149}} In Menon's recollection, following each day's recording session, Harrison returned to his rooms at the [[The Taj Mahal Palace Hotel|Taj Mahal Hotel]] and studiously documented his observations on the sounds and nuances of the various Indian instruments. Menon described the process as "a kind of immersion for him into the folk music of India".{{sfn|Howlett|2014|p=10}}

According to author [[Alan Clayson]], the Indian players were "fascinated" to be following Western rules of harmony for the first time.{{sfn|Clayson|2003|p=235}} The musicians were recruited by [[Shambhu Das]],{{sfn|Clayson|2003|pp=206, 235}} who ran Shankar's [[Kinnara School of Music]] in Bombay,{{sfn|Harry|2003|p=61}} and Vijay Dubey, the head of [[Artists and repertoire|A&R]] for [[Saregama|His Master's Voice]] in India.{{sfn|Howlett|2014|pp=8, 10}}{{refn|group=nb|A protégé of Shankar's, Das had handled much of Harrison's sitar tuition during the latter's visit to India in late 1966.{{sfn|Clayson|2003|p=206}}<ref>Geoffrey Clarfield, [http://wayback.archive-it.org/all/20210509212303/https://nationalpost.com/category/news/ "Good enough to teach the Beatles, but not to record"], ''[[National Post]]'', 15 November 2010 (archived version retrieved 14 May 2021).</ref> Harrison sent Das a telegram on 29 December 1967, requesting "2 or 3 shanhai 3 sitar and one dha shanhai" for the ''Wonderwall'' sessions.<ref>Telegram to Shambhu Das, in The Beatles, p. 280.</ref>}} The shehnai players were Sharad Kumar and Hanuman Jadev,<ref name="2014 CD credits">Album credits, ''Wonderwall Music'' CD ([[Apple Records]], 2014; produced by George Harrison).</ref> while the tar shehnaist was Vinayak Vora.{{sfn|Castleman|Podrazik|1976|p=198}} Shambhu Das and Indranil Bhattacharya were the sitarists, and Chandrashekhar Naringrekar played [[surbahar]] (a low-[[Register (music)|register]] version of the sitar). The tablist was [[Shankar Ghosh (musician)|Shankar Ghosh]],<ref name="2014 CD credits" /> although the original album credits listed him on sitar.<ref name="1968 LP credits" />

[[Rijram Desad]], a [[multi-instrumentalist]] whose past work included film scores and ballets with vocalists such as [[Lata Mangeshkar]],<ref>''Collaborations'', p. 44.</ref> played [[Pump organ#In the Indian subcontinent|Indian harmonium]] and tabla tarang.{{sfn|Castleman|Podrazik|1976|p=198}}{{refn|group=nb|A [[melodic percussion instrument]], the tabla tarang consists of between ten and sixteen individually tuned hand drums, specifically the tabla's treble-variety [[tabla|dayan]],{{sfn|Lavezzoli|2006|pp=3, 24}} which are set in a semicircle around the player.<ref>Gabriele Stiller-Kern, [https://web.archive.org/web/20141006081637/http://www.culturebase.net/artist.php?258 "Kamalesh Maitra: The last master of tabla taranga"], culturebase.net, 2007 (archived version retrieved 6 October 2014).</ref>}} [[Shivkumar Sharma]] contributed on santoor, and the [[bansuri]] (bamboo flute) was played by S.R. Kenkare.{{sfn|MacDonald|1998|p=240}}<ref name="1968 LP credits" /> [[Hariprasad Chaurasia]] also contributed on bansuri,{{sfn|MacDonald|1998|p=240}} but only after the soundtrack pieces had been completed, and the efficient progress of the sessions allowed Harrison to record some other compositions.{{sfn|Lavezzoli|2006|p=183}}

===London, January–February 1968===
After returning to England on 18 January,{{sfn|Miles|2001|p=291}}{{sfn|Winn|2009|p=145}} Harrison recorded the majority of the Western music for ''Wonderwall'' with the Remo Four,{{sfn|Everett|1999|p=151}} again at Abbey Road.{{sfn|Leng|2006|p=49}} Author [[Bruce Spizer]] writes that Harrison played piano, guitar and Mellotron on some of the Western tracks.{{sfn|Spizer|2005|p=206}} In addition, according to Manley, Harrison provided the [[steel guitar]] part on "Cowboy Music", even though Manley is credited on the album sleeve.{{sfn|Spizer|2005|p=207}} Also present at the sessions were Dutch designers [[The Fool (design collective)|the Fool]] – Simon Posthuma, Marijke Koger and Josje Leeger{{sfn|Everett|1999|pp=145, 151, 307}} – who had created the [[Psychedelia|psychedelic]]-themed sets for Massot's film.<ref name="Clayson/OffTheWall" />{{refn|group=nb|The Fool were the Beatles' preferred designers over 1967–68.{{sfn|Clayson|2003|pp=211, 238}} In addition to carrying out individual assignments for Harrison and Lennon,{{sfn|Howlett|2014|p=13}} they painted a three-storey-high mural on the outside wall of the band's new retail venture, [[Apple Boutique]],<ref>MacDonald, p. 238fn.</ref> in [[Baker Street]], London.{{sfn|Doggett|2011|p=30}}}} Well known for his theme tune to [[BBC]] television's ''[[Dixon of Dock Green]]'',{{sfn|Clayson|2003|p=235}} [[Tommy Reilly (harmonica player)|Tommy Reilly]] played on the soundtrack after Harrison had asked Martin to suggest a good harmonica player.{{sfn|Leng|2006|p=49}}

At various stages while working on the project, Harrison returned to Twickenham to ensure that each musical piece married up with its scene in the film; he later recalled: "it always worked. It was always right."{{sfn|Howlett|2014|p=12}} Final mixing began on 31 January, and a late [[overdubbing]] session took place on 11 February, when extra [[sound effects]] were added to "Dream Scene".{{sfn|Madinger|Easter|2000|pp=419-20}} Harrison mixed the recordings with [[Ken Scott]],<ref name="Hurwitz" /> completing stereo and mono versions of the album.{{sfn|Madinger|Easter|2000|p=420}}{{refn|group=nb|Among the differences in the mono ''Wonderwall Music'', shorter fadeouts were used on some of the tracks. "Red Lady Too" was given a slightly longer fadeout, relative to the stereo mix, along with heavy [[flanging]] treatment on one of the piano parts.{{sfn|Madinger|Easter|2000|pp=420-422}}}} Harrison then went back to India on 15 February,{{sfn|Madinger|Easter|2000|p=420}} with Lennon and their wives,{{sfn|Winn|2009|p=145}} to study meditation with the Maharishi [[The Beatles in India|in Rishikesh]].<ref>Mark Paytress, "A Passage to India", in ''Mojo Special Limited Edition: 1000 Days of Revolution'', p. 12.</ref>{{sfn|Miles|2001|p=293}}

Having been allocated a budget of £600, Harrison eventually spent £15,000 on recording the film soundtrack, paying the difference himself.{{sfn|Rodriguez|2010|p=9}} One of the non-soundtrack pieces taped at the end of the Bombay sessions was "[[The Inner Light (song)|The Inner Light]]",<ref>"Timeline: Jan 1 – Feb 3, 1968", in ''Mojo Special Limited Edition: 1000 Days of Revolution'', p. 19.</ref> which he completed at Abbey Road in early February.{{sfn|Winn|2009|p=156}} This song became the first Harrison composition to appear on a Beatles single when it was issued as the [[B-side]] to "[[Lady Madonna]]" in March 1968,{{sfn|Harry|2003|pp=82, 353}}{{sfn|Tillery|2011|p=63}} a release that served to cover the band's absence in Rishikesh.{{sfn|Schaffner|1978|pp=95}} The Remo Four song "[[In the First Place]]" was another product of the ''Wonderwall'' sessions,<ref name="Unterberger/First Place">Richie Unterberger, [https://web.archive.org/web/20161120010748/http://www.allmusic.com/album/in-the-first-place-mw0000945126 "The Remo Four 'In the First Place'"], [[AllMusic]] (archived version retrieved 20 November 2016).</ref> although the track remained unreleased until the late 1990s.{{sfn|Winn|2009|p=143}} In 1993, Harrison told ''[[The Simpsons|Simpsons]]'' creator [[Matt Groening]] that ''Wonderwall Music'' had been his most enjoyable album to make.<ref name="Fritsche/Huff" />

==Musical content==
The nineteen tracks on ''Wonderwall Music'' range from just over a minute in length to five-and-a-half minutes.{{sfn|Everett|1999|p=151}} On some pressings of the 1968 LP, various pieces lacked [[Audio mastering|mastering]] rills between them;{{sfn|Madinger|Easter|2000|pp=420, 421}} with these selections instead presented as [[Medley (music)|medley]]s, the number of distinct album tracks was reduced to twelve.{{sfn|Castleman|Podrazik|1976|p=69}}{{sfn|Spizer|2005|p=205}} On many of the Indian selections, instruments such as sitar, surbahar and harmonium{{sfn|Everett|1999|p=151}} provide a drone-like backing,<ref name="Ginell/AM" /> over which Harrison's chosen instrument plays the main musical theme.{{sfn|Lavezzoli|2006|pp=26, 182}}

In the original album credits, Harrison was listed as producer, writer and arranger but was not included among the performers,{{sfn|Castleman|Podrazik|1976|p=198}} leading to an assumption that he did not play on the recordings.<ref name="Fritsche/Huff">Tom Fritsche, [https://web.archive.org/web/20170706010835/http://www.huffingtonpost.com/fandor/the-wild-world-of-wonderw_b_8333106.html "The Wild World of WONDERWALL's Music"], ''[[The Huffington Post]]'', 20 October 2016 (archived version retrieved 6 July 2017).</ref> After consulting Barham in 2002 for his book ''While My Guitar Gently Weeps'', Leng credited Harrison as a performing musician,{{sfn|Leng|2006|pp=48fn, 49–50}} and Spizer also recognised him in his track-by-track list, published in 2005.{{sfn|Spizer|2005|pp=206-07}} The performer credits in the 2014 reissue of ''Wonderwall Music'' rectified the situation,<ref name="Fritsche/Huff" /> and list Harrison on piano and guitar.<ref name="2014 CD credits" />

===Side one===
[[File:Shehnai.jpg|upright=.5|thumb|right|The double-reed<ref>''World Music: The Rough Guide'', p. 73.</ref> [[shehnai]], one of several Indian musical instruments Harrison used on ''Wonderwall Music'']]
The album opens with "Microbes", which consists of call-and-response shehnai parts{{sfn|Leng|2006|p=49}} and was partly based on the raga [[Darbari Kanada]].<ref name="Hurwitz" /> The [[waltz]]-time{{sfn|Rodriguez|2010|p=9}} "Red Lady Too" includes what musicologist [[Walter Everett (musicologist)|Walter Everett]] describes as "[[Piano Sonata No. 14 (Beethoven)|'Moonlight' Sonata]]-like suspensions on piano, [[honky-tonk]] piano, Mellotron, and drums".{{sfn|Everett|1999|p=151}} Ashton performed the tack piano part, with Barham supplying the lower-register piano accompaniment.<ref name="Hurwitz" /> On "Tabla and Pakavaj", Mahapurush Misra played the two types of hand drums named in the title, the barrel-shaped [[pakhavaj]] being another mainstay of [[Hindustani classical music]].{{sfn|Lavezzoli|2006|pp=36–37, 182}} "In the Park" includes Sharma's santoor alternating solos with surbahar{{sfn|Lavezzoli|2006|p=182}} and tabla tarang.<ref name="Hurwitz" /> Neither of these last two tracks appears in the film.{{sfn|Madinger|Easter|2000|p=420}}

Author Peter Lavezzoli recognises "Harrison's dry humor" in "the honky-tonk, piano-driven" "Drilling a Home".{{sfn|Lavezzoli|2006|p=182}} The song is subject to dramatic changing of pitch, from the [[Key (music)|key]] of [[G major|G]] up to [[B-flat major|B{{music|flat}}]], through the tape being sped up.{{sfn|Everett|1999|p=151}} In the film, only the portion up to the sound of a rainstorm is used.{{sfn|Madinger|Easter|2000|p=421}} The [[ragtime]] feel of the track is accentuated by an arrangement that includes tack piano, horns and banjo,{{sfn|Spizer|2005|p=206}} with the last two sounds created through Ashton's use of different settings on the Mellotron.<ref name="Hurwitz" /> Author Ian Inglis writes of the effectiveness of "Drilling a Home": "its jangle piano instantly recreates the mood of a crowded saloon in a frontier town, or a [[Laurel and Hardy]] or [[Keystone Cops]] pursuit."{{sfn|Inglis|2010|p=17}} The track segues into "Guru Vandana",{{sfn|Madinger|Easter|2000|p=421}} another Bombay-recorded piece<ref name="Clayson/OffTheWall" /> featuring multiple shehnais.<ref name="Dale/Uncut UMG" /> The title references Guru Vandana, a Hindu prayer in honour of God and one's teacher.{{sfn|Allison|2006|p=143}} "Greasy Legs" consists of harmonium and Mellotron,{{sfn|Everett|1999|pp=151-52}} including parts played on the latter instrument's flute, organ and cello settings.<ref name="Hurwitz" />

{{quote box|quote= George told me he'd like me to play on something, or we'd write something as we went along&nbsp;... You know, it was very experimental, and it was good fun.<ref>Eric Clapton interview, in ''George Harrison: Living in the Material World'', Disc 1; event occurs between 1.21.06 and 1.21.19.</ref>|source= – [[Eric Clapton]], discussing his involvement on the track "Ski-ing"|width=25%|align=left|style=padding:8px;}}
On "Ski-ing", Clapton plays a [[blues]]-based guitar [[riff]] treated with a [[Distortion (music)|fuzz-tone]] effect,{{sfn|Spizer|2005|p=206}} over a rock rhythm and heavy tanpura drone.{{sfn|Everett|1999|p=152}} While Spizer and Everett credit all four electric guitar parts (two of which were taped backwards) to Clapton alone,{{sfn|Spizer|2005|p=206}}{{sfn|Everett|1999|p=152}} he recalls that "we put down this thing [on tape] and George then put backwards guitar on it."<ref>Eric Clapton interview, in ''George Harrison: Living in the Material World'', Disc 1; event occurs between 1.21.12 and 1.21.16.</ref> The seagull-like sounds{{sfn|Spizer|2005|p=206}} of the guitars segue into "Gat Kirwani",{{sfn|Madinger|Easter|2000|p=421}} a fast-paced Indian piece with Aashish Khan on sarod, backed by sitar and Misra's tabla.{{sfn|Lavezzoli|2006|p=182}} The performance is based on the [[Kirwani|similarly named raga]], which Harrison had suggested that Khan play.<ref name="Hurwitz" />

"Dream Scene" is a combination of segments that Harrison edited together.{{sfn|Madinger|Easter|2000|pp=419-20}} Along with "Ski-ing", it is the only track on the album that combines Indian and Western music.{{sfn|Madinger|Easter|2000|p=421}} The song consists of three distinct pieces, the first of which is a meditative section containing [[Phaser (effect)|phase-shifted]] instrumentation such as tabla tarang,{{sfn|Spizer|2005|pp=206–07}} harp (swarmandal) and sitar,<ref name="Pangburn/D&T">D.J. Pangburn, [https://web.archive.org/web/20171117131224/https://www.deathandtaxesmag.com/56067/george-harrison-forgotten-solo-gems/ "George Harrison: Forgotten Solo Gems"], ''[[Death and Taxes (website)|Death and Taxes]]'', 25 February 2011 (archive version retrieved 17 November 2017).</ref> and singing.{{sfn|Leng|2006|p=50}}{{refn|group=nb|Harrison sourced the vocals from EMI's sound library at Abbey Road.<ref name="Hurwitz" />}} The music is delivered via backwards-played [[tape loop]]s as the vocals [[Panning (audio)|pan]] from one side to the other across the stereo image.<ref name="Ginell/AM" /> The other two pieces include a section comprising Barham's piano and flutes,{{sfn|Leng|2006|p=50}} followed by a trumpet solo, harmonica interspersed with a [[police siren]], and more backwards tape loops.{{sfn|Spizer|2005|p=207}} The song fades out with a slowed-down spoken voice over the sound of church bells.{{sfn|Everett|1999|p=152}} Leng notes that "Dream Scene" was recorded several months before Lennon's experimental [[sound collage]] "[[Revolution 9]]", released on the double album ''[[The Beatles (album)|The Beatles]]''.{{sfn|Leng|2006|p=50}}{{refn|group=nb|Madinger and Easter similarly comment that Harrison's contribution to "Revolution 9" "may have been understated in retrospect after listening to this".{{sfn|Madinger|Easter|2000|p=421}}}}
{{Clear}}

===Side two===
"Party Seacombe" includes a rock accompaniment that Clayson likens to the style of [[Pink Floyd]],{{sfn|Clayson|2003|p=235}} and the song equally recalls the Beatles' instrumental "[[Flying (Beatles song)|Flying]]",<ref name="Ginell/AM" />{{sfn|Inglis|2010|p=18}} with which it shares a twenty-bar blues structure.{{sfn|Everett|1999|p=152}} Recorded with the Remo Four, it includes [[Wah-wah pedal|wah]]-effected lead guitars,{{sfn|Everett|1999|p=152}} one of which resembles the sound of a human voice;{{sfn|Clayson|2003|p=235}} phase-shifted treatment on the acoustic rhythm guitar; and additional drums and percussion,{{sfn|Spizer|2005|p=207}} possibly played by Starr.{{sfn|Lavezzoli|2006|p=182}} Writing for ''[[NME Originals]]'' in 2005, Adrian Thrills described the track as "Whimsical '60s psychedelia from George's experimental dabblings".<ref>Chris Hunt (ed.), ''[[NME|NME Originals]]: Beatles – The Solo Years 1970–1980'', IPC Ignite! (London, 2005), p. 23.</ref>

[[File:Dia5246 Shiv Kumar Sharma.jpg|upright=1.0|thumb|left|[[Shivkumar Sharma]] performing on [[santoor]], an instrument he pioneered in Indian classical music<ref>''World Music: The Rough Guide'', pp. 69, 73, 78.</ref>]]
The two Indian pieces "Love Scene" and "Crying" form another medley,{{sfn|Castleman|Podrazik|1976|p=69}} with the first track featuring Khan's call-and-response sarod parts.{{sfn|Leng|2006|p=49}} Overdubbing was unprecedented in Indian music until this time,{{sfn|Leng|2006|p=49}} and Khan later said he was "thrilled" with the effect on "Love Scene", where the sarods "[play] to each other like two lovers in a romantic mood".{{sfn|Howlett|2014|p=8}} The piece resulted from Barham's suggestion that Khan play Mauj-Khamaj, a raga created by his grandfather, [[Allauddin Khan]].<ref name="Hurwitz" /> Described by Madinger and Easter as "aptly titled",{{sfn|Madinger|Easter|2000|p=421}} "Crying" contains the mournful tones of a tar shehnai.<ref name="White/Musician p 56" />{{refn|group=nb|In 1981, Harrison used part of this recording of "Crying" at the end of "[[Save the World (George Harrison song)|Save the World]]",<ref name="White/Musician p 56" /> the closing song on his album ''[[Somewhere in England]]''.{{sfn|Leng|2006|p=226}}}}

"Cowboy Music" is a [[Country and Western|country-and-western]] piece that Inglis likens to the incidental music typically heard in American [[Western (genre)|westerns]] from the 1940s.{{sfn|Inglis|2010|p=17}} The performance includes steel guitar and contributions from the Remo Four, along with Reilly on harmonica.{{sfn|Howlett|2014|p=12}} Returning to the Indian style, "Fantasy Sequins" combines tar shehnai<ref name="White/Musician p 56" /> with harmonium, played by Desad,{{sfn|Spizer|2005|p=207}} and bell-like percussion known as khas.{{sfn|Winn|2009|p=149}}{{refn|group=nb|According to author John Winn, "Fantasy Sequins" was the song being worked on when the BBC and Reuters crews filmed the 10 January session. Winn cites the line-up of musicians seen in the existing silent footage, and the fact that the visual images match the progression heard in the released song.{{sfn|Winn|2009|p=149}}}} This track segues into "On the Bed", although Madinger and Easter say that the correct title, as it appeared on early US copies of the album, should be "Glass Box", which is the name given instead to the Indian piece that follows it.{{sfn|Madinger|Easter|2000|p=422}}{{refn|group=nb|Madinger and Easter note that after viewing the ''Wonderwall'' film, it becomes "very apparent what the title of each track should be", given the context in which the two songs appear.{{sfn|Madinger|Easter|2000|p=422}} Although the order was correct on US copies, the latter mis-titled "Cowboy Music" as "Cowboy Museum" in the track listing.{{sfn|Madinger|Easter|2000|p=421}}<ref name="1968 LP credits">''Wonderwall Music'' LP ([[Apple Records|Apple]] ST 3350, 1968; produced by George Harrison).</ref>}} "On the Bed" opens with a piano riff from Harrison, which, in Leng's description, is complemented by "spacey steel guitar, and a fugue of flugelhorn countermelodies, added by Barham".{{sfn|Leng|2006|p=50}} The song includes backing from the Remo Four, and [[Big Jim Sullivan]] on bass.{{sfn|Spizer|2005|p=207}} Harrison overdubbed the sitar-like steel guitar part.<ref name="Hurwitz" />

[[File:PAUL HARMONIUM11.jpg|upright=0.9|thumb|right|An encased, three-octave Indian harmonium]]
"Glass Box" is "a high-speed Indian [[raga]]", according to Spizer,{{sfn|Spizer|2005|p=207}} with Indranil Bhattacharya on sitar.{{sfn|Lavezzoli|2006|p=182}} Everett describes "Wonderwall to Be Here" as a tune "based on a [[Minor mode|minor-mode]] I-{{music|flat}}VII-{{music|flat}}VI-V progression, styled like [[Liberace|Liberacian]] variations on '[[While My Guitar Gently Weeps]]'".{{sfn|Everett|1999|p=152}} The performance is led by Ashton, on piano,{{sfn|Leng|2006|p=50}} and also includes instrumentation such as organ, acoustic guitar, drums and percussion.{{sfn|Spizer|2005|p=207}} Leng views the piece as the soundtrack's "best collective work", adding: "This moving music was a close fit with the scene it covered – a mute passage in which the implied lust of the aging academic turns to compassion for Jane Birkin['s character], whose suicide attempt he witnesses&nbsp;... Harrison's melody was strongly empathetic to the first appearance of human feeling in the film."{{sfn|Leng|2006|p=50}}

The album closes with "Singing Om", in which a male Indian voice chants the sacred term [[Om]]{{sfn|Allison|2006|p=122}} over a musical backing of harmonium{{sfn|Leng|2006|p=305}} and bansuri.{{sfn|Spizer|2005|p=207}} The piece is an early example of Harrison blending [[Vedic]] chanting with Western harmony,{{sfn|Leng|2006|p=50}} a concept that he explored further in his [[The Radha Krsna Temple (album)|1969–70 productions]] for the [[Radha Krishna Temple]], and also in his post-Beatles songs such as "[[My Sweet Lord]]" and "[[Awaiting on You All]]".{{sfn|Allison|2006|pp=122, 143, 144}}

==Film premiere and aftermath==
Harrison attended the world premiere of ''Wonderwall'', held at the [[Cannes Film Festival]] on 17 May 1968,{{sfn|Miles|2001|p=298}} accompanied by his wife [[Pattie Boyd]],<ref>"Timeline: May 16 – June 19, 1968", in ''Mojo Special Limited Edition: 1000 Days of Revolution'', p. 32.</ref> Starr{{sfn|Winn|2009|p=146}} and Birkin.<ref name="Clayson/OffTheWall" /> Although he had expected the film's producers to purchase the soundtrack rights and issue the album independently, they declined to do so,{{sfn|Rodriguez|2010|p=9}} leading Massot to suggest that Harrison release it on the Beatles' new label, [[Apple Records]].{{sfn|Spizer|2005|pp=205-206}} ''Wonderwall Music'' therefore became Apple's first album release,{{sfn|Rodriguez|2010|p=9}} as well as the first solo album by a member of the Beatles.{{sfn|Ingham|2006|p=154}}

Inglis writes that Massot was impressed with "the accuracy with which [Harrison's music] illustrated and enhanced the images on screen".{{sfn|Inglis|2010|p=17}} Massot asked Harrison to provide the soundtrack for a new film he had written, ''[[Zachariah (film)|Zachariah]]'',{{sfn|Madinger|Easter|2000|p=420}} a western that was eventually made by director [[George Englund]] and released in 1970.<ref>Clarke Fountain, [https://web.archive.org/web/20140414075640/http://www.allmovie.com/movie/zachariah-v56102 "''Zachariah'' (1970)"], [[AllMovie]] (archived version retrieved 13 May 2017).</ref>{{refn|group=nb|According to Massot, he wrote ''Zachariah'' after joining Harrison in Rishikesh and witnessing him engaged in "some sort of meditation duel with Lennon to see who was the stronger character".<ref>Joe Massot, "Identity Crisis", ''[[Mojo (magazine)|Mojo]]'', October 1996, p. 146.</ref>}} Although Harrison declined, he later supplied incidental music for ''[[Little Malcolm]]'' (1974),{{sfn|Simmons|2011|p=85}} a film he produced under the aegis of [[Apple Films]],{{sfn|Badman|2001|pp=90, 150}} before going on to contribute to soundtracks for his [[HandMade Films]] productions in the 1980s, including ''[[Time Bandits]]'' and ''[[Shanghai Surprise]]''.{{sfn|Inglis|2010|pp=83, 86}}

Together with "The Inner Light", the ''Wonderwall'' project marked the end of Harrison's overtly Indian musical phase.<ref name="Snow/Mojo" />{{sfn|Schaffner|1978|pp=95, 111, 115}}{{sfn|Inglis|2010|pp=11-12}} After filming his scenes for the Shankar documentary ''[[Raga (film)|Raga]]'' in Los Angeles, in June 1968,{{sfn|Miles|2001|p=300}} he decided to abandon his sitar studies and return to his first instrument, the guitar.{{sfn|Lavezzoli|2006|pp=184-85}}{{sfn|Leng|2006|p=36}} In an interview to promote his Apple signing [[Jackie Lomax]], in September, Harrison said that, although ''Wonderwall Music'' represented a style of music he had moved on from in recent months, "I still like [the album]. I still think it's very good."<ref>Alan Smith, "George Is a Rocker Again!", ''[[NME]]'', 21 September 1968, p. 3.</ref> He later cited the Bombay sessions for ''Wonderwall'' as the inspiration for his 1974 collaborations with Shankar{{sfn|Harrison|2011|p=302}} – namely, the [[Ravi Shankar's Music Festival from India|Music Festival from India]] and their subsequent [[George Harrison–Ravi Shankar 1974 North American Tour|North American tour]].{{sfn|Lavezzoli|2006|pp=195-96}} Both of these projects featured Indian musicians that Harrison first worked with in January 1968.{{sfn|Leng|2006|p=48fn}}

==Album artwork==
{{quote box|quote= Well I remember that wall, that brick&nbsp;... Bob Gill and I never quite recovered our compatibility but the brick did have to go. Were we right? Yes.<ref name="Taylor/Wonderwall CD" />|source= – [[Derek Taylor]], recalling difficulties with artist [[Bob Gill (artist)|Bob Gill]] over Harrison's alteration to his cover design|width=25%|align=left|style=padding:8px;}}
Apple commissioned American artist [[Bob Gill (artist)|Bob Gill]] to produce a painting for the front cover of ''Wonderwall Music''. Gill recalls that he first attended a meeting at the company's headquarters, where the four Beatles emphasised the importance of the album for their new record label and outlined the concept behind the film.<ref name="Hurwitz" /> Gill painted a picture in the style of Belgian [[surrealist]] [[René Magritte]], showing a formally dressed man "separated by a huge red brick wall from a group of happy bathing Indian maidens", Spizer writes.{{sfn|Spizer|2005|pp=205-207}} Apple executive [[Derek Taylor]], whom Harrison had invited to help run the Beatles' label in early 1968,{{sfn|Doggett|2011|p=31}} later wrote of Gill's submission: "It was a nice painting but missed the essence of hope."<ref name="Taylor/Wonderwall CD" /> To Gill's chagrin, Harrison requested that a brick be removed from the wall, because he deemed it important to "give the fellow on the other side a chance, just as the Jack MacGowran character had a chance [in the film]".<ref name="Taylor/Wonderwall CD">Derek Taylor's liner notes, ''Wonderwall Music'' CD ([[Apple Records]]/[[EMI]], 1992; produced by George Harrison).</ref>

[[File:Back cover of George Harrison's 1968 album Wonderwall Music.jpg|160px|thumb|right|upright|Back cover of ''Wonderwall Music'', showing a portion of the [[Berlin Wall]]]]
Along with Gill, John Kelly and [[Alan Aldridge]] were credited for designing the album's artwork.{{sfn|Harry|2003|p=393}} For the back cover of the LP, Harrison chose a photo of part of the [[Berlin Wall]] – a stock image from the Camera Press picture agency – which Kelly and Aldridge then manipulated and mirrored to represent a corner.{{sfn|Spizer|2005|p=207}} Taylor describes the result as innovative for its time, with the wall made to look "proud and sharp as the prow of a liner".<ref name="Taylor/Wonderwall CD" /> The sleeve was designed so that the rear face appeared upside down relative to the front.{{sfn|Spizer|2005|p=207}} In America, some copies of the LP had the Berlin Wall image mistakenly printed on the front, which made for "a less than exciting cover to be sure", in Madinger and Easter's opinion.{{sfn|Madinger|Easter|2000|p=420}}

The LP's sleeve insert included a black-and-white photograph of Harrison taken by [[Astrid Kirchherr]],{{sfn|Rodriguez|2010|p=9}} a friend since the Beatles' [[The Beatles in Hamburg|first residency in Hamburg, Germany]], in 1960.{{sfn|Clayson|2003|pp=76-77, 238}} Clayson cites Kirchherr's involvement as an example of Harrison's efforts to ensure that friends from the Beatles' pre-fame years were included in the Apple enterprise.{{sfn|Clayson|2003|pp=237-38}}

==Release==
Apple Records originally scheduled the release for late August 1968 to coincide with the label's launch,{{sfn|Spizer|2005|p=205}} which was marked by the highly publicised release of its "First Four" singles.{{sfn|Schaffner|1978|pp=110-111}}{{refn|group=nb|In addition to "[[Hey Jude]]" by the Beatles, these four singles included Lomax's debut, "[[Sour Milk Sea]]", written and produced by Harrison.{{sfn|Miles|2001|p=307}}{{sfn|Schaffner|1978|p=110}}}} As a result, parts of "Ski-ing", "Cowboy Music" and "Wonderwall to Be Here" were included in ''Apple'', a ten-minute film{{sfn|Winn|2009|pp=177-78}} designed to promote the new label at distributor EMI's international sales conferences.{{sfn|Madinger|Easter|2000|p=420}} Delayed from this scheduled date, ''Wonderwall Music'' instead appeared in November, a few weeks before ''The Beatles''.{{sfn|Rodriguez|2010|p=9}} The release date was 1 November 1968 in Britain (with Apple catalogue number SAPCOR 1),{{sfn|Everett|1999|p=152}} only three weeks before the Beatles' "[[The Beatles (album)|The White Album]]" was released, and 2 December in America (as Apple ST 3350).{{sfn|Castleman|Podrazik|1976|p=68}} The mono version of the album was available only in the UK.{{sfn|Spizer|2005|p=205}}

Promotion for ''Wonderwall Music'' consisted of print advertising,{{sfn|Rodriguez|2010|p=9}} including a full-page advertisement in the 14 December issue of ''[[Billboard (magazine)|Billboard]]'' magazine,<ref>[https://books.google.com/books?id=_kQEAAAAMBAJ&pg=PA17 Apple trade ad], ''[[Billboard (magazine)|Billboard]]'', 14 December 1968, p. 17.</ref> and an Apple-prepared poster that superimposed details from Gill's painting onto a photo of Harrison.{{sfn|Spizer|2005|pp=204-205}} The album's commercial impact was lessened by its unusual position of being the soundtrack to a film that had yet to receive a general release.{{sfn|Clayson|2003|p=234}}{{refn|group=nb|Following the Cannes festival, the producers were unable to secure wide distribution for the film,<ref name="Fritsche/Huff" /> which had a brief cinema run in London{{sfn|Clayson|2003|p=234}} after opening at the CineCenta in [[Leicester Square]] in January 1969.{{sfn|Miles|2001|p=329}} In America, ''Wonderwall'' was screened publicly for the first time at a 1960s film festival in Hollywood in June 1999.{{sfn|Tillery|2011|p=167}}}} The album failed to chart in the United Kingdom,{{sfn|Rodriguez|2010|p=9}} but performed surprisingly well in the United States.<ref name="Clayson/OffTheWall" /><ref name="Lewis/First Place" /> On ''Billboard''{{'}}s pop LPs listings, it had a sixteen-week chart run,{{sfn|Schaffner|1978|pp=133}} peaking at number 49 for two weeks in March 1969.{{sfn|Castleman|Podrazik|1976|p=360}} On the US ''[[Cashbox (magazine)|Cash Box]]'' and ''[[Record World]]'' charts, the album peaked at numbers 39 and 33, respectively.{{sfn|Spizer|2005|p=206}} ''Wonderwall Music'' also placed in the top 30 on Canada's ''[[RPM (magazine)|RPM]]'' albums chart<ref name="RPM">[https://web.archive.org/web/20131231003433/http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.5907&type=1&interval=20&PHPSESSID=tflvluuu3gmgse7n7epkm834m4 "''RPM'' Top 50 Albums, 24 February 1969"], [[Library and Archives Canada]] (archived version retrieved 22 February 2017).</ref> and in West Germany, where it peaked at number 22.<ref name="MediaControl">[https://web.archive.org/web/20140714181543/http://www.officialcharts.de/album.asp?artist=George+Harrison&title=Wonderwall+Music&cat=a&country=de "Album – George Harrison, Wonderwall Music"], charts.de (archived version retrieved 14 July 2014).</ref><ref>[https://web.archive.org/web/20130716054334/http://www.charts-surfer.de/musiksuche.php "Musik-Charts durchsuchen" > ''Enter album name; select "Deutsche Album-charts"''], Charts Surfer (archived version retrieved 4 March 2017).</ref>

===Reissues===
Having been out of print since the 1970s,{{sfn|Schaffner|1978|pp=111, 212}} ''Wonderwall Music'' was remastered and issued on CD in June 1992,{{sfn|Madinger|Easter|2000|pp=420, 633}} as part of Apple's campaign to reissue its entire catalogue.{{sfn|Badman|2001|p=481}} The CD booklet contained [[liner notes]] by Taylor,<ref name="Lewis/First Place" /> as well as stills from ''Wonderwall'' and a photo of Harrison working with some of the Indian musicians in 1968.{{sfn|Madinger|Easter|2000|pp=420, 422}}

In November 1997, Massot began preparing a [[director's cut]] of ''Wonderwall'', which omitted many of the musical cues that had appeared in the original film but not on the soundtrack album, and instead repeated tracks such as "Ski-ing" and "Cowboy Music" at different points in the film.{{sfn|Madinger|Easter|2000|p=420}} Harrison supplied Massot with a tape containing various pieces recorded for ''Wonderwall'',{{sfn|Harry|2003|p=237}} which led to the unearthing of the Remo Four's "In the First Place".{{sfn|Madinger|Easter|2000|p=420}} A Manley–Ashton composition,{{sfn|Winn|2009|p=143}} "In the First Place" was released as a single in January 1999 with Harrison credited as producer, after Massot had incorporated the song into his new audio for the film.{{sfn|Madinger|Easter|2000|p=420}} Harrison had played on the recording,<ref name="Harry/ColinManley">Bill Harry, [https://web.archive.org/web/20130127085924/http://www.triumphpc.com/mersey-beat/a-z/colinmanley.shtml "Colin Manley"], triumphpc.com/[[Mersey Beat]] (archived version retrieved 30 June 2014).</ref> but according to an article by [[Martin Lewis (humorist)|Martin Lewis]], he eschewed any credit as a performer.<ref name="Lewis/First Place">Martin Lewis, [https://web.archive.org/web/20120716185242/http://abbeyrd.best.vwh.net/wonderwall.htm "The Story of 'In the First Place'"], Abbeyrd's Beatle Page (archived version from 16 July 2012; retrieved 30 May 2017).</ref> In March 2014, Harrison's full soundtrack was made available on [[DVD]] when the original cut of the film was included in the two-disc set ''Wonderwall Collector's Edition''.<ref>[http://abcnewsradioonline.com/music-news/2014/2/17/collectors-edition-of-wonderwall-1968-film-scored-by-george.html "Collector's Edition of 'Wonderwall,' 1968 Film Scored by George Harrison, to Be Released on DVD & Blu-ray"], [[ABC News Radio]], 17 February 2014 (archived version retrieved 27 December 2017).</ref><ref>Glenn Erickson, [https://web.archive.org/web/20140726130619/http://www.dvdtalk.com/dvdsavant/s4379wond.html "Savant Blu-ray Review: Wonderwall"], ''[[DVD Talk]]'', 2 April 2014 (archived version retrieved 29 May 2017).</ref>{{refn|group=nb|Portions of "Ski-ing" and "Party Seacombe" appear in [[Martin Scorsese]]'s 2011 documentary ''[[George Harrison: Living in the Material World]]'',<ref>End credits, ''George Harrison: Living in the Material World'', Disc 2.</ref> during which Clapton and Birkin discuss their participation in the project.<ref>Eric Clapton and Jane Birkin interviews, in ''George Harrison: Living in the Material World'', Disc 1; event occurs between 1.20.46 and 1.22.37.</ref>}}

The album was remastered again and reissued in September 2014, as part of the Harrison box set ''[[The Apple Years 1968–75]]''.<ref name="Snow/Mojo" /><ref name="Marchese/Review">Joe Marchese, [https://web.archive.org/web/20160404105656/http://theseconddisc.com/2014/09/23/review-the-george-harrison-remasters-the-apple-years-1968-1975/ "Review: The George Harrison Remasters – 'The Apple Years 1968–1975'"], ''The Second Disc'', 23 September 2014 (archived version retrieved 4 April 2016).</ref> The CD booklet includes a liner-note essay by author Kevin Howlett and an introduction by British Indian composer [[Nitin Sawhney]].<ref name="AppleYears/GH.com">[https://web.archive.org/web/20140903094458/http://www.georgeharrison.com/the-apple-years-68-75-boxset-coming-soon/ "Announcing The Apple Years 1968–75 Box set – Released 22nd September"], georgeharrison.com, 2 September 2014 (archived version retrieved 29 September 2014).</ref> The reissue added three bonus tracks: the previously unreleased "Almost Shankara", titled after an epithet for the Hindu deity [[Shiva]] and based on a traditional Indian raga;{{sfn|Howlett|2014|p=10}} an alternate instrumental take of "The Inner Light", which opens with Harrison's instructions to the musicians at His Master's Voice;<ref name="DeRiso/SomethingElse">Nick DeRiso, [https://web.archive.org/web/20170626052913/http://somethingelsereviews.com/2014/09/19/one-track-mind-george-harrison-the-inner-light-alternative-take-from-the-apple-years-2014/ "One Track Mind: George Harrison, 'The Inner Light (alt. take)' from ''The Apple Years'' (2014)"], ''Something Else!'', 19 September 2014 (archived version retrieved 26 June 2017).</ref> and "In the First Place" by the Remo Four".<ref name="Grow/RSonline">Kory Grow, [https://web.archive.org/web/20171023120321/http://www.rollingstone.com/music/news/george-harrisons-first-six-studio-albums-to-get-lavish-reissues-20140902 "George Harrison's First Six Studio Albums to Get Lavish Reissues"], [[Rolling Stone|rollingstone.com]], 2 September 2014 (archived version retrieved 23 October 2017).</ref><ref>Joe Marchese, [https://web.archive.org/web/20210203212957/https://theseconddisc.com/2014/09/02/give-me-love-george-harrisons-apple-years-are-collected-on-new-box-set/ "Give Me Love: George Harrison's 'Apple Years' Are Collected on New Box Set"], ''The Second Disc'', 2 September 2014 (archived version retrieved 3 February 2021).</ref> The reissue series was overseen by Harrison's son [[Dhani Harrison|Dhani]],<ref name="AppleYears/GH.com" /> also a film-score composer.<ref name="Fricke/RS" /> In an interview with music journalist [[David Fricke]], he described ''Wonderwall Music'' as his personal favourite of his father's Apple solo albums and "a cross of [[Spaghetti Western|spaghetti-western]] music, the ''[[Chants of India]]'' things my Dad [did] with Ravi, and the Beatles' best freakouts".<ref name="Fricke/RS">David Fricke, [https://web.archive.org/web/20170621050200/http://www.rollingstone.com/music/features/inside-george-harrisons-archives-dhani-on-his-fathers-incredible-vaults-20141016 "Inside George Harrison's Archives: Dhani on His Father's Incredible Vaults"], [[Rolling Stone|rollingstone.com]], 16 October 2014 (archived version retrieved 21 June 2017).</ref> Coinciding with this reissue, the ''Wonderwall'' film and soundtrack was the subject of an event held at the [[Grammy Museum at L.A. Live|Grammy Museum]] in Los Angeles, partly hosted by music journalist and television writer [[David Wild]].<ref>[https://web.archive.org/web/20190530103801/https://www.grammymuseum.org/events/detail/reel-to-reel-wonderwall-wonderwall-music "Reel to Reel: Wonderwall & Wonderwall Music"], [[Grammy Museum|grammymuseum.org]], September 2014 (archived version retrieved 30 May 2019).</ref>

==Critical reception==

===Contemporary reviews===
''Record World''{{'}}s reviewer said that ''Wonderwall Music'' was an example of the Beatles beginning to "stretch out on their own separate tethers" and described the mix of Indian and Western music as "moody and pretty".<ref>"Album Reviews", ''[[Record World]]'', 21 December 1968, p. 10.</ref> According to Clayson, ''[[Films and Filming]]'' gave it a "glowing review".<ref name="Clayson/OffTheWall">Alan Clayson, "Off the Wall", in ''Mojo Special Limited Edition: 1000 Days of Revolution'', p. 50.</ref> The magazine's writer, Gordon Gow,<ref name="Taylor/Wonderwall CD" /> said that "the Harrison music replaces dialogue, waxing almost vocal like a cinema organist from the silent days."{{sfn|Clayson|2003|pp=235, 477}} In his review for ''[[International Times]]'', [[Barry Miles]] wrote:
<blockquote>A genius description and interpretation of how someone else is feeling. Their moods, loves, wants. A delicate light cobweb of music, Indian, Chinese, French Impressionist, Jingle-jangle piano, hot horn. The music of the '20s occurs throughout in evocative snatches … Like [[Spike Jones and his City Slickers]], only seen through the curtains of memories, parts of themes, incomplete lines. Then a '60s theme, a moving pattern of colours, bobbing the lilies on the pond.<ref name="Miles/IT" /></blockquote>

Miles concluded by describing it as a "gentle human record".<ref name="Miles/IT">Barry Miles, "Magic Music, Nova Music, & Pink ...", ''[[International Times]]'', 15–28 November 1968, p. 5.</ref> By contrast, ''[[Melody Maker]]''{{'}}s review read: "Heavily Indian-influenced music written, arranged and produced by George for the film. Much of the music fails to have much point away from the pictures."<ref name="Dale/Uncut UMG" /><ref>"Melody Maker LP Supplement", ''[[Melody Maker]]'', 14 December 1968, p. 18.</ref>

Writing in February 1969, [[Geoffrey Cannon]] of ''[[The Guardian]]'' cited ''Wonderwall Music'' and recent individual projects by Lennon and McCartney for Apple as evidence that the three bandmates had "musical ideas which cannot be related to the Beatles". He added: "Playing these albums again and again, the threat of the Beatles' dissolution has become increasingly apparent to me."<ref>Geoffrey Cannon, "The Beatles: Too Big for the Band?", ''[[The Guardian]]'', 25 February 1969; available at [http://www.rocksbackpages.com/Library/Article/the-beatles-too-big-for-the-band Rock's Backpages] (subscription required).</ref> In his review of Harrison's 1969 experimental album, ''[[Electronic Sound]]'', [[Ed Ward (writer)|Ed Ward]] of ''[[Rolling Stone]]'' said that ''Wonderwall Music'' "clearly shows" Harrison to be a "consummate musician".<ref>Edmund O. Ward, "John Lennon & Yoko Ono ''Life with the Lions'' / George Harrison ''Electronic Sound''", ''[[Rolling Stone]]'', 9 August 1969, p. 37.</ref>

===Retrospective assessment===

====Professional reviews====
{{Album reviews
|rev1 = [[AllMusic]]
|rev1score = {{Rating|2.5|5}}<ref name="Ginell/AM">Richard S. Ginell, [https://web.archive.org/web/20140914124644/http://www.allmusic.com/album/wonderwall-music-mw0000676515 "George Harrison ''Wonderwall Music''"], [[AllMusic]] (archived version retrieved 14 September 2014).</ref>
|rev2 = ''[[Billboard (magazine)|Billboard]]''
|rev2score = "Vital Reissue"<ref name="BB review">Melinda Newman, Chris Morris & Edward Morris (eds), [https://web.archive.org/web/20170324043716/https://books.google.com/books?hl=pt-BR&id=lxAEAAAAMBAJ&q=harrison#v=snippet&q=harrison&f=false "Album Reviews"], ''[[Billboard (magazine)|Billboard]]'', 18 July 1992, p. 48 (archived version retrieved 24 March 2017).</ref>
|rev3 = ''[[Mojo (magazine)|Mojo]]''
|rev3score = {{Rating|3|5}}<ref name="Harris/Mojo">John Harris, "Beware of Darkness", ''[[Mojo (magazine)|Mojo]]'', November 2011, p. 82.</ref>
|rev4 = [[MusicHound]]
|rev4score = 2/5{{sfn|Graff|Durchholz|1999|p=529}}
|rev5 = ''[[Musician (magazine)|Musician]]''
|rev5score = (favourable)<ref name="Musician WM review" />
| rev6 = ''[[:it:Claudio Fabretti|OndaRock]]''
| rev6score = 5/10<ref>Gabriele Gambardella, [https://www.ondarock.it/songwriter/georgeharrison.htm#google_vignette "George Harrison: Il Mantra del Rock"], ''[[:it:Claudio Fabretti|OndaRock]]'' (retrieved 24 September 2021).</ref>
|rev7 = ''[[The Rolling Stone Album Guide]]''
|rev7score = {{Rating|2.5|5}}{{sfn|Brackett|Hoard|2004|p=367}}
|rev8 = ''[[Uncut (magazine)|Uncut]]''
|rev8score = {{Rating|3|5}}<ref name="Uncut">Nigel Williamson, "All Things Must Pass: George Harrison's post-Beatles solo albums", ''[[Uncut (magazine)|Uncut]]'', February 2002, p. 60.</ref>
}}
''Musician'' magazine said of the 1992 CD release: "Of all the Beatles-related esoterica, this 1968 soundtrack album is one of the choicest treasures&nbsp;... a freewheeling tapestry of music and sound&nbsp;... [and] a pastiche-like head trip with a mind all its own."<ref name="Musician WM review">"Review: George Harrison ''Wonderwall Music'' CD", ''[[Musician (magazine)|Musician]]'', December 1992, p. 98.</ref> ''Billboard''{{'}}s reviewer rated it a "Vital Reissue" (signifying a re-release or compilation that merits "special artistic, archival, and commercial interest") and described the album as an "often enchanting sequence of 19 harmonious themes and tone poems" and an "intriguing treat".<ref name="BB review" />

Writing for ''Rolling Stone'' in 2002, [[Mikal Gilmore]] described ''Wonderwall Music'' as "a soundtrack to a rarely seen film, though Harrison's music was inventive and the album remains among his best works".{{sfn|The Editors of ''Rolling Stone''|2002|p=39}} In the 2004 edition of ''[[The Rolling Stone Album Guide]]'', however, Mac Randall gave the release two-and-a-half stars (out of five) and grouped it with ''Electronic Sound'' as being "interesting, though only for established fans".{{sfn|Brackett|Hoard|2004|p=367}} In a 2011 assessment for ''[[Mojo (magazine)|Mojo]]'', [[John Harris (critic)|John Harris]] said it was "As subtly inventive as you'd expect, though hardly compulsory."<ref name="Harris/Mojo" />{{refn|group=nb|''Rolling Stone'' included the album in its 2015 list titled "20 Terrible Debut Albums by Great Artists". Keith Harris said that the Indian selections "reduced a complex tradition to a collection of hip background sounds" and he concluded: "The best thing you can say about ''Wonderwall Music'' is that it's probably more historically significant than the LP of experimental twaddle John Lennon released a month later [''[[Two Virgins]]'']."<ref>Keith Harris, [https://web.archive.org/web/20170527211725/http://www.rollingstone.com/music/lists/20-terrible-debut-albums-by-great-artists-20151118/george-harrison-wonderwall-music-1968-20151116 "20 Terrible Debut Albums by Great Artists" > "George Harrison, 'Wonderwall Music' (1968)"], [[Rolling Stone|rollingstone.com]], 18 November 2015 (archived version retrieved 27 May 2017).</ref>}}

{{quote box|quote= [As] a whole, it's a fascinating if musically slender mishmash of sounds from East and West, everything casually juxtaposed or superimposed without a care in the world&nbsp;... As this and Harrison's second experimental release, ''Electronic Sound'', undoubtedly proved, pigeonholing this Beatle was a dangerous thing.<ref name="Taylor/Wonderwall CD" />|source= – [[AllMusic]] critic Richard Ginell|width=25%|align=left|style=padding:8px;}}
In January 2012, Bryan Bierman of ''[[Magnet (magazine)|Magnet]]'' presented ''Wonderwall Music'' in the magazine's "Hidden Gems" series, lamenting that "the album has become an obscure piece of Beatles trivia instead of what it is: a fascinating experiment from one of popular music's most interesting figures." Bierman wrote that, while the Beatles held a familiar role as pioneers in rock music's new developments, the album showed Harrison breaking away and "creating fresh and unique sounds" of his own.<ref name="Bierman/Magnet">Bryan Bierman, [https://web.archive.org/web/20141129020638/http://www.magnetmagazine.com/2012/01/05/hidden-gems-george-harrisons-wonderwall-music/#more-120818 "Hidden Gems: George Harrison's 'Wonderwall Music'"], ''[[Magnet (magazine)|Magnet]]'', 5 January 2012 (archived version retrieved 25 May 2017).</ref> In February 2011, the website ''[[Death and Taxes (website)|Death and Taxes]]'' similarly identified the album as one of Harrison's two "Forgotten Solo Gems", along with ''Electronic Sound''.<ref name="Pangburn/D&T" />{{refn|group=nb|Among the highlights, D.J. Pangburn cited "Red Lady Too" as indicative that Harrison was "every bit the psychedelic equal of Lennon", and "Drilling a Home" as revealing him to be "an astute musicologist and modern-day interpreter, surpassing even McCartney". Pangburn said that "Greasy Legs" could equally belong in a [[Wes Anderson]] film or on an album by [[Boards of Canada]].<ref name="Pangburn/D&T" />}}

Reviewing the 2014 ''Apple Years'' remaster for ''[[Uncut (magazine)|Uncut]]'', [[Richard Williams (journalist)|Richard Williams]] writes that ''Wonderwall Music'' represents "an exploded diagram of a Beatles album", which includes "[d]reamy miniature ragas", "a pub knees-up gatecrashed by a [[Dixieland]] band ('Drilling A Home')" and "the bones of early [[Acid rock|acid-rock]] songs ('Red Lady Too' and 'Party Seacombe')". Williams describes the album as "a treat from start to finish" offering "an innocent optimism that will always be worth a listen".<ref name="Williams/Uncut">Richard Williams, "George Harrison ''The Apple Years 1968–75''", ''[[Uncut (magazine)|Uncut]]'', November 2014, p. 93.</ref> ''[[New Zealand Herald]]'' critic [[Graham Reid (journalist)|Graham Reid]] considers "Dream Scene" to be "by far the most psychedelic and out-there piece by any Beatle to that time", adding that "towards the end you can almost anticipate Lennon's Revolution 9 coming in." Reid describes the album as, variously, "peculiar and terrific" and "one of the most interesting and courageously different of [Harrison's] solo albums".<ref>Graham Reid, [https://web.archive.org/web/20210217030312/https://www.elsewhere.co.nz/absoluteelsewhere/6583/george-harrison-revisited-part-one-2014-the-dark-horse-bolting-out-of-the-gate/ "George Harrison Revisited, Part One (2014): The dark horse bolting out of the gate"], ''[[Elsewhere (website)|Elsewhere]]'', 24 October 2014 (archived version retrieved 17 February 2021).</ref> In a review for ''Uncut''{{'}}s ''Ultimate Music Guide'' issue on Harrison, Jon Dale describes ''Wonderwall Music'' as "a beguiling, charming snapshot of a moment in time". He says that, in response to the soundtrack restrictions, Harrison skilfully abbreviates the Indian raga form, "somehow capturing an essence, and condensing it to the fleeting, the elemental", while similarly presenting Western experimentalism "cloaked in a velvet glove".<ref name="Dale/Uncut UMG" />
{{clear}}

====Biographers' appraisal====
Author Robert Rodriguez writes that, although the brevity of each selection allowed little opportunity for progression beyond a basic motif, "sonically, the range explored even within the Western cues was astonishing". He adds: "The Indian cuts too were quite varied stylistically, showing open-minded listeners that there was more to the country's music than twanging sitars and thumping tablas."{{sfn|Rodriguez|2010|p=9}} Simon Leng considers ''Wonderwall Music'' to be "a companion in spirit" to [[Bill Evans]]' ''[[Conversations with Myself (album)|Conversations with Myself]]'', due to the doubling of the lead instrument in some of the Indian pieces; he comments on the significance of Harrison recording in India in January 1968: "There were now three Beatles who held firm artistic visions. The group was unraveling in earnest."{{sfn|Leng|2006|pp=33, 49}} Leng praises "Dream Scene" in particular, describing it as a "musical acid trip" that "rivals anything on ''Sgt. Pepper'' for sheer freak-out effect".{{sfn|Leng|2006|p=50}}

Ian Inglis views ''Wonderwall Music'' as "an assured and varied collection of music that&nbsp;... perfectly complemented the juxtaposition of the exotic and the ordinary that Massot's film depicted". Among the selections he highlights as transcending their soundtrack role, Inglis describes "Microbes" as "a beautiful example of Harrison's ability to create forlorn, mournful, yearning soundscapes" and "Greasy Legs" as "a delicate and charming composition".{{sfn|Inglis|2010|p=17}} Inglis concludes of Harrison's debut solo album: "it provides a fascinating summary of the myriad patterns of musical activity whose fusions stimulated the growth of psychedelic, underground, and progressive scenes in the late 1960s, and it is a key moment in the development of his preparations for life after the Beatles."{{sfn|Inglis|2010|p=18}}

==Cultural influence and legacy==
According to Dale, as the first solo release by a member of the band, ''Wonderwall Music'' is widely viewed as "the [[Marco Polo]] of Beatle solo albums", yet its true historical significance lies in its standing as "one of the first records to really bring Indian classical music into pop and rock, across the entire narrative of an album".<ref name="Dale/Uncut UMG" /> Shambhu Das, who subsequently became a teacher and ambassador of Indian music in Canada, recognises the album as having helped inspire [[Indo jazz|Indo–jazz fusion]].<ref>Geoffrey Clarfield, [https://web.archive.org/web/20180331172724/http://www.shambhudas.com/image/shambhu_latest.jpg "A Maharaja of Music"], ''[[National Post]]'', 15 November 2010, p. A12 (archived version retrieved).</ref> American film-score composer [[Quincy Jones]] once described it as "the greatest soundtrack he had heard", according to Massot's recollection to [[BBC Radio]] presenter [[Spencer Leigh (radio presenter)|Spencer Leigh]].<ref>Spencer Leigh, [https://web.archive.org/web/20140715145407/http://www.britishbeatlesfanclub.co.uk/2011/12/harrison-exclusive-tribute.html "Talking George Harrison"], britishbeatlesfanclub.co.uk, 29 December 2011 (archived version retrieved 15 July 2014).</ref>{{refn|group=nb|For his part, Harrison was dismissive of the Western music on the album; in the 1980s he referred to it as "loads of horrible mellotron stuff and a police siren".{{sfn|Clayson|2003|pp=234-35}}}}

Leng credits ''Wonderwall Music'' with having established Harrison as "a pioneer in fusing global music",{{sfn|Leng|2006|p=51}} and Madinger and Easter similarly view it as "an early example of what would eventually become known as '[[World Music]]': the mixing of Western music with other types from around the globe".{{sfn|Madinger|Easter|2000|p=419}} In his book ''The Dawn of Indian Music in the West'', Peter Lavezzoli describes the album as "a charming potpourri of Indian and Western sounds"; he considers Harrison to be a principal figure in the introduction of Indian music to Western audiences, along with [[Yehudi Menuhin]] and [[John Coltrane]], and groups him with [[Paul Simon]], [[Peter Gabriel]] and [[Mickey Hart]] as the rock musicians most responsible for popularising world music.<ref>Lavezzoli, pp. 81, 172–73, 182.</ref> Writing for ''Mojo'' in 2011, Michael Simmons described ''Wonderwall Music'' as a "groundbreaking blend of Bombay and London",{{sfn|Simmons|2011|p=80}} while Kevin Howlett comments in his 2014 liner-note essay that Harrison's decision to "travel to the source" and professionally record non-Western music was "unprecedented for a pop musician".{{sfn|Howlett|2014|p=8}} Graeme Thomson, writing in ''[[The Guardian]]'' in March 2017, called ''Wonderwall Music'' "a world music crossover before such a notion even existed".<ref name="Thomson/Guardian" />

Clayson says that the album's influence was evident on mid-1990s [[Britpop]] acts such as [[Oasis (band)|Oasis]], [[Supergrass]] and [[Ocean Colour Scene]].{{sfn|Clayson|2003|pp=438-39}} Of these bands, Oasis took the title of their international hit "[[Wonderwall (song)|Wonderwall]]" from that of Harrison's album.<ref>Bennett & Stratton, pp. 118, 146; Michael Gallucci, [https://web.archive.org/web/20170603103633/http://ultimateclassicrock.com/george-harrison-apple-years-box/ "George Harrison, 'The Apple Years 1968–75' – Album Review"], ''[[Ultimate Classic Rock]]'', 19 September 2014 (archived version retrieved 3 June 2017); Timothy White, [https://books.google.com/books?id=TA8EAAAAMBAJ&q=%22Wonderwall+Music%22&pg=PA89 "Magical History Tour: Harrison Previews 'Anthology Volume 2'"], ''[[Billboard (magazine)|Billboard]]'', 9 March 1996, p. 89 (retrieved 2 September 2015).</ref>{{refn|group=nb|In a 2001 interview, Massot said that his decision to re-release ''Wonderwall'' in the late 1990s was due to the interest generated through Oasis' hit song.<ref>Graham Reid, [https://web.archive.org/web/20170423084646/https://www.elsewhere.co.nz/film/3852/joe-massot-interviewed-2001-and-after-all-youre-my-wonderwall/ "JOE MASSOT INTERVIEWED (2001): And after all, you're my wonder wall …"], ''[[Elsewhere (website)|Elsewhere]]'', 14 February 2011 (archived version retrieved 13 May 2017).</ref>}} Like Clayson,{{sfn|Clayson|2003|p=439}} music journalist Chris Ingham sees the most obvious example of ''Wonderwall Music''{{'}}s legacy in the [[raga rock]] sound of [[Kula Shaker]],{{sfn|Ingham|2006|p=162}} who also adopted lyrical influences from Harrison's work.<ref>Stephen Thomas Erlewine, [https://web.archive.org/web/20140814010104/http://www.allmusic.com/artist/kula-shaker-mn0000776408/biography "Kula Shaker"], [[AllMusic]] (archived version retrieved 14 August 2014).</ref><ref>Tracey Pepper, [https://web.archive.org/web/20141129030211/http://www.ew.com/ew/article/0,,294690,00.html "''K'' (1996), Kula Shaker"], ''[[Entertainment Weekly]]'', 25 October 1996 (archived version retrieved 29 November 2014).</ref> The band's 1996 single "[[Govinda (Kula Shaker song)|Govinda]]" was a cover of a Harrison-produced song by the Radha Krishna Temple, and its B-side, "Gokula", used an identical guitar riff to the one on "Ski-ing",{{sfn|Clayson|2003|p=439}} resulting in a co-writing credit for Harrison.<ref>B-side label credits, "Govinda" single ([[Columbia Records]], 1996; produced by Shep & Dodge).</ref> The track "Ski-ing" was used as a walk-on song for [[Liam Gallagher]] and [[John Squire]]'s [[Liam Gallagher_John Squire#Tour|2024 tour]].<ref>Richard Purden, [https://theedinburghreporter.co.uk/2024/03/review-liam-gallagher-and-john-squire/], ''The Edinburgh Reporter'', 14 March 2024</ref>

==Track listing==
All selections written by George Harrison, except where noted.

===Original release===
'''Side one'''
#"Microbes" – 3:42
#"Red Lady Too" – 1:56
#"Tabla and Pakavaj" – 1:05
#"In the Park" – 4:08
#"Drilling a Home" – 3:08
#"Guru Vandana" – 1:05
#"Greasy Legs" – 1:28
#"Ski-ing" – 1:50
#"Gat Kirwani" – 1:15
#"[[Dream Scene (song)|Dream Scene]]" – 5:26

'''Side two'''
#"Party Seacombe" – 4:34
#"Love Scene" – 4:17
#"Crying" – 1:15
#"Cowboy Music" – 1:29
#"Fantasy Sequins" – 1:50
#"On the Bed" – 2:22
#"Glass Box" – 1:05
#"Wonderwall to Be Here" – 1:25
#"Singing Om" – 1:54

===2014 reissue===
Track numbers 1 to 19 of the original release, with the following bonus tracks:

#<li value="20">"[[In the First Place]]" (Colin Manley, [[Tony Ashton]]; performed by [[the Remo Four]]) – 3:17</li>
#"Almost Shankara" – 5:00
#"[[The Inner Light (song)|The Inner Light]]" (alternate take, instrumental) – 3:43

==Personnel==
{{div col|colwidth=30em}}
*[[George Harrison]] – piano, [[Mellotron]], electric and acoustic guitars, [[tape loop]]s, musical arrangements
*[[John Barham]] – piano, [[flugelhorn]], [[Pump organ|harmonium]], orchestral arrangement
*[[Tony Ashton]] – [[tack piano]], organ, Mellotron, piano, harmonium
*[[Remo Four (The)|Colin Manley]] – electric and acoustic guitars, [[steel guitar]]
*[[Remo Four (The)|Philip Rogers]] – bass guitar
*[[Roy Dyke]] – drums
*[[Tommy Reilly (harmonica player)|Tommy Reilly]] – [[harmonica]]
*[[Eric Clapton]] – electric guitar
*[[Ringo Starr]] – drums
*[[Big Jim Sullivan]] – bass
*[[Aashish Khan]] – [[sarod]]
*Mahapurush Misra – [[tabla]], [[pakhavaj]]
*Sharad Kumar – [[shehnai]]
*Hanuman Jadev – shehnai
*[[Shambhu Das]] – [[sitar]]
*Indranil Bhattacharya – sitar
*[[Shankar Ghosh (musician)|Shankar Ghosh]] – tabla
*Chandrashekhar Naringrekar – [[surbahar]]
*[[Shivkumar Sharma]] – [[santoor]]
*S.R. Kenkare – [[bansuri]]
*Vinayak Vora – [[tar shehnai]]
*[[Rijram Desad]] – harmonium, tabla tarang
{{div col end}}

==Charts==
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
! scope="col"|Chart (1968–69)
! scope="col"|Position
|-
| scope="row" style="text-align:left"|Canadian [[RPM (magazine)|''RPM'' Top 50 Albums]]<ref name="RPM" />
|39
|-
| scope="row" style="text-align:left"|US [[Billboard 200|''Billboard'' Top LPs]]<ref>"Billboard Top LP's", ''[[Billboard (magazine)|Billboard]]'', 8 March 1969, p. 68.</ref>
|49
|-
| scope="row" style="text-align:left"|US ''[[Cash Box (magazine)|Cash Box]]'' Top 100 Albums<ref>"Cash Box Top 100 Albums", ''[[Cash Box (magazine)|Cash Box]]'', 1 March 1969, p. 41.</ref>
|39
|-
| scope="row" style="text-align:left"|US ''[[Record World]]'' Top LPs<ref>Andy Goberman (ed.), "100 Top LP's", ''[[Record World]]'', 1 March 1969, p. 27.</ref>
|33
|-
| scope="row" style="text-align:left"|West German [[Musikmarkt|''Musikmarkt'' LP Hit-Parade]]<ref name="MediaControl" />
|22
|}

==See also==
* ''[[Raga (film)|Raga]]''
* ''[[Shankar Family & Friends]]''

==Notes==
{{reflist|30em|group=nb}}

==References==
{{reflist|20em}}

==Sources==
{{refbegin}}
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{{refend}}

==External links==
*{{Discogs master|type=album|56019|name=Wonderwall Music}}
*''[http://www.allmovie.com/movie/wonderwall-v55202 Wonderwall]'' at [[AllMovie]]
*[http://www.cinemaretro.com/index.php?/archives/8303-REVIEW-JOE-MASSOTS-WONDERWALL,-A-FABULOUS-FILMS-BLU-RAY-SPECIAL-EDITION,-RELEASED-BY-SHOUT-FACTORY-2014.html ''Wonderwall'' film review] at [[Cinema Retro|Cinemaretro.com]]

{{George Harrison}}

{{Authority control}}

[[Category:1968 debut albums]]
[[Category:1968 soundtrack albums]]
[[Category:George Harrison albums]]
[[Category:Albums produced by George Harrison]]
[[Category:Albums recorded in India]]
[[Category:Apple Records soundtracks]]
[[Category:EMI Records soundtracks]]
[[Category:Drama film soundtracks]]
[[Category:Albums with cover art by Alan Aldridge]]
[[Category:Raga rock albums]]
[[Category:World music albums by English artists]]
[[Category:The Beatles and India]]