George Harrison's 1968 album, "Wonderwall Music," is a fascinating journey through diverse musical landscapes, serving as the soundtrack to the film "Wonderwall." As Harrison's first solo effort and the debut release from Apple Records, the album is a unique blend of rock, folk, and Indian music. Recorded across London and Bombay, its 19 tracks on the original LP, plus bonus tracks on later versions, offer a comprehensive look into Harrison's musical interests
and his pioneering efforts in cross-cultural fusion. The album's structure reveals a thoughtful arrangement of distinct musical ideas, each contributing to its overall eclectic character.
Side One: An Eclectic Introduction
The first side of the original "Wonderwall Music" LP immediately establishes the album's diverse nature. It opens with "Microbes," a track that sets an intriguing tone, followed by "Red Lady Too," which hints at more conventional rock or folk structures. The album quickly shifts gears with "Tabla and Pakavaj," a piece that directly showcases Indian classical percussion, highlighting Harrison's deep immersion in these sounds. This is followed by "In The Park," a more melodic and perhaps reflective composition.Further into Side One, tracks like "Drilling a Home" and "Greasy Legs" suggest a playful or perhaps more experimental Western influence, while "Guru Vandana" firmly re-establishes the Indian classical presence. "Ski-ing" and "Gat Kirwani" continue this back-and-forth, with the latter being another clear nod to Indian musical forms. The side concludes with "Dream Scene," a longer piece at 5:26, which likely serves as a more atmospheric or narrative-driven segment within the film's soundtrack, allowing for extended musical exploration.
Side Two: Expanding the Narrative
Side Two of "Wonderwall Music" continues the album's varied approach, often with titles that directly evoke cinematic scenes. "Party Seacombe," at 4:34, suggests a lively or significant event within the film, while "Love Scene" clearly indicates its purpose as accompaniment to a romantic or emotional moment. The album then presents shorter, more concise pieces like "Crying" and "Cowboy Music," which might serve as brief interstitial cues or thematic snippets within the film's narrative."Fantasy Sequins" and "Glass Box" offer further sonic textures, contributing to the album's overall mosaic of sounds. "On the Bed" and "Wonderwall to be Here" are brief, evocative tracks that likely underscore specific visual elements or emotional beats in the movie. The album culminates with "Singing Om," a track that brings the listener back to the spiritual and meditative influences that were central to Harrison's artistic vision, providing a contemplative close to the original release.
Bonus Tracks and Extended Editions
Later versions of "Wonderwall Music," such as the remixed edition from 2014, expanded the original experience with bonus tracks. These additions provide further insight into the recording sessions and Harrison's broader musical output around that period. "In the First Place," a collaboration with Colin Manley and Tony Ashton, is one such bonus track, offering a different stylistic flavor. "Almost Shankara" further explores the Indian-inspired themes, while "The Inner Light" is a notable inclusion, being a George Harrison composition previously released as a B-side by The Beatles.Additionally, a 1998 release of a Remo Four single included two versions of "In the First Place" – an "Original Abbey Road Mix" and a "Movie Mix." These bonus materials highlight the collaborative nature of some of the album's creation and offer alternative perspectives on tracks associated with the project. The inclusion of these additional pieces enriches the understanding of "Wonderwall Music" as a comprehensive artistic endeavor, showcasing both its core soundtrack elements and related musical explorations.
