text:
Wah-Wah (song)
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"Wah-Wah"
Cover of the original Hansen Publishing sheet music for the song
Song by George Harrison
from the album All Things Must Pass
Published
Harrisongs
Released
27 November 1970
Genre
Rock, hard rock
Length
5:35
Label
Apple
Songwriter(s)
George Harrison
Producer(s)
George Harrison, Phil Spector
All Things Must Pass track listing
show
23 tracks
Side one
"I'd Have You Anytime"
"My Sweet Lord"
"Wah-Wah"
"Isn't It a Pity"
Side two
"What Is Life"
"If Not for You"
"Behind That Locked Door"
"Let It Down"
"Run of the Mill"
Side three
"Beware of Darkness"
"Apple Scruffs"
"Ballad of Sir Frankie Crisp (Let It Roll)"
"Awaiting on You All"
"All Things Must Pass"
Side four
"I Dig Love"
"Art of Dying"
"Isn't It a Pity (Version Two)"
"Hear Me Lord"
Side five
"Out of the Blue"
"It's Johnny's Birthday"
"Plug Me In"
Side six
"I Remember Jeep"
"Thanks for the Pepperoni"
"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 Get Back sessions that resulted in their 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".[1] 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.
Contents
[hide]
1 Background
1.1 October–December 1968 US visit
1.2 January 1969 at Twickenham Film Studios
1.3 Harrison's return to the Beatles
2 Composition
3 Recording
4 Release
5 Reception and legacy
6 Live version
7 Cover versions
8 Personnel
9 Notes
10 References
11 Sources
Background[edit]
October–December 1968 US visit[edit]
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, commonly known as the White Album.[2][3][4][5] In Los Angeles, where he was producing a Jackie Lomax solo album for the Beatles' Apple record label, Harrison directed top session players such as Hal Blaine and Larry Knechtel,[6] and met two American musicians with whom he would soon collaborate in London, Delaney Bramlett and Leon Russell.[7] Later in the US trip, Harrison stayed in upstate New York, where he established a musical bond with Bob Dylan[2] and thrived among what author Simon Leng calls the "group ethic and camaraderie" of the Band.[8] Throughout this period, Harrison continued to bloom as a songwriter,[9] 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.[10] In addition, he had recently co-written Cream's single "Badge" with Eric Clapton,[11] as well as collaborating with Dylan in Bearsville.[12]
January 1969 at Twickenham Film Studios[edit]
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 Get Back film project], it was just too difficult".[13][14] These difficulties included having to endure McCartney's habit of dictating how the others should play their instruments[15][16] and Lennon's increasing withdrawal from the band and emotional dependence on his ever-present partner, Yoko Ono.[17][18][19] The couple had recently descended into heroin addiction,[20][21][22] leaving Lennon, in author Peter Doggett's words, "emotionally removed and artistically bankrupt".[23] 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".[24][nb 1]
On 6 January 1969, the band's third day at Twickenham Film Studios, in south-west London,[28] an argument was captured on film where McCartney criticised Harrison's guitar playing on the song "Two of Us".[29] 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."[30][31] With the sessions being recorded by film director Michael Lindsay-Hogg,[32] tapes reveal Beatles associates Neil Aspinall and George Martin sympathising with Harrison's position,[33] recognising that McCartney and Lennon "don't offer him enough freedom within their compositions".[34] Ringo Starr, who had quit the band briefly during the White Album sessions, partly as a result of McCartney's hectoring of his drumming,[35] 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."[36]
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.[37]
– George Harrison to Musician magazine, November 1987
Over the first three days at Twickenham, Harrison had presented new compositions such as "All Things Must Pass", "Let It Down" and "Hear Me Lord" for consideration;[38] these and other "numerous beautiful songs", music journalist Martin O'Gorman writes, "received derision and disinterest from Lennon or heavy-handed interference from McCartney".[4][nb 2] On 8 January, Harrison debuted "I Me Mine", a song inspired by the bickering and negativity within the band.[30][41] It was met with ridicule by Lennon[42] and an argument ensued between the two musicians, during which Lennon dismissed Harrison's abilities as a songwriter.[30] 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".[43][nb 3] In addition, Harrison had been alone in voicing his objections to Ono's presence,[44] telling the couple how, in Lennon's later recollection, "Dylan and a few people said she's got a lousy name in New York".[45][46]
On Friday, 10 January, a more severe argument took place in which Harrison berated Lennon for contributing nothing positive to the rehearsals.[30] During the lunch break, Harrison walked out of the Beatles, saying that the others should advertise in the NME for his replacement.[4][47] He then drove to his home, Kinfauns, in Surrey, and wrote "Wah-Wah" that same afternoon.[48][49] Despite the animosity between himself and Lennon on the day he quit the group,[50][51] Harrison later confirmed a suggestion made by music journalist Timothy White that, just like Lennon's "How Do You Sleep?" and "Crippled Inside", the song was a "swipe" at McCartney.[37]
Harrison's return to the Beatles[edit]
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.[52]
– Lennon to McCartney, discussing Harrison's departure from the Beatles
Harrison's diary records that Lennon and Ono "diverted" him at home over breakfast the following morning,[53][54] but even after a subsequent band meeting at Starr's house, author Barry Miles writes, their "feud" remained "intractable".[55] At the meeting, much to Harrison's annoyance, Lennon once more chose to have Ono speak on his behalf.[56] Harrison then went to his parents' home in Warrington for a few days before imposing terms for his return to the band[4][57] – 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.[58] Commentators have remarked on a change in Harrison's standing within the band as a result of his walkout,[2][59][60] and later in 1969, Lennon and McCartney would be speaking admiringly of Harrison's growth as a songwriter.[9][61][nb 4] In an article for Mojo magazine's July 2001 "Solo Beatles Special", John Harris wrote that although Harrison "nominally" remained a Beatle, he was "serving out his notice" after 10 January 1969.[2]
Composition[edit]
In his autobiography, I, Me, Mine, Harrison explains that the song title was a reference to "a 'headache' as well as a footpedal",[48] the wah-wah pedal being a guitar effect that he favoured for much of the early Get Back sessions.[63][64] The message of the song, according to Harrison, was: "you're giving me a bloody headache."[37][65] Leng identifies "Wah-Wah" as being directed at the "artifice" and "pretense" surrounding the Beatles.[66]
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.[67]
– George Harrison, 2000
The song is based around an electric guitar riff that Leng describes as "snarling".[68] Written in the key of E, the tune incorporates chord changes that musicologist Wilfrid Mellers once admired as "audacious";[69] musically, Harrison biographer Elliot Huntley suggests, the composition mirrors the "intense atmosphere" at Twickenham in January 1969.[70] 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".[71]
Like "Run of the Mill", which Harrison also wrote in early 1969, the lyrics touch on the failure of friendships within the band,[72] which in the case of Harrison, McCartney and Lennon dated back to school years.[73][74] Harrison later spoke of their familiarity with one another resulting in McCartney, especially, failing to recognise his artistic growth;[75] 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".[48]
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" had found Harrison defending himself for supposedly leading his fellow Beatles "astray" to the Maharishi's meditation retreat in India.[76][77] In "Wah-Wah", he states sarcastically:[71]
You've made me such a big star
Being there at the right time
Cheaper than a dime ...
Over the song's two middle eights, Harrison laments that his bandmates never take the time to notice his sorrow or "hear me sighing".[71]
Harrison's Surrey home, 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 Hindu spirituality, to continue devoting time to the group's "petty squabbles".[78] In the song's final verse, Harrison provides what AllMusic critic Bill Janovitz terms a "simple, spiritual sentiment",[79] which serves as a statement of his independence from the Beatles:[71][80][81]
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.[82] 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.[2][4][83] 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".[68][nb 5] 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.[87][88]
Recording[edit]
McCartney's refusal to have the release of his eponymous first solo album delayed until after Let It Be led to him announcing his departure from the band on 9 April 1970,[89][90] and to Harrison finally deciding to make an album of his many unused songs from the Beatles' later years.[91][92] He subsequently described the process of recording his songs with outside musicians as "a breath of fresh air".[92] Shortly before starting work on the album, Harrison gave a radio interview to Village Voice reporter Howard Smith,[93] 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.[94][95][nb 6]
Delaney and Bonnie Bramlett, whose 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,[94] whose work on the Let It Be album had recently enraged McCartney.[102][103] "Wah-Wah" was the first song taped for All Things Must Pass,[104] recording for which began at Abbey Road Studios in late May that year.[105] In keeping with Spector's signature production style, a large group of musicians took part in the sessions.[106] 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 and Bobby Keys, bassist Klaus Voormann, Starr on drums, and Badfinger's Mike Gibbins playing tambourine.[68][80] While Leng consulted Voormann, Badfinger's Joey Molland and orchestral arranger John Barham for his chapter discussing the recording of All Things Must Pass,[107] Bobby Whitlock, another former sideman with Delaney & Bonnie,[108] has stated that he played electric piano on "Wah-Wah".[109][110] Whitlock recalls that, having arrived at the session late due to traffic, and finding that the other musicians were all playing on the downbeat on the song, he was left to play alone in the obvious "open spot" – on the upbeat.[111][nb 7]
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?"[118]
– Klaus Voormann to Mojo magazine, November 2014
Speaking in 2000 about this first session,[119] 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.[120] In Leng's words, Spector "[unleashed] his full armory of reverb-flooded production values" on "Wah-Wah".[68][nb 8] 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."[120] Although Harrison said "I grew to like it",[120] he subsequently reverted to his original opinion that the song, like much of All Things Must Pass, was overproduced.[68][121] 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.[122] After receiving Harrison's initial mixes, Spector wrote back with suggestions for each song;[80] in the case of "Wah-Wah", these included the addition of a saxophone solo by Keys, and backing vocals.[123] As well as overdubbing his slide guitar solos, Harrison sang all the various vocal parts,[124] crediting himself as "the George O'Hara-Smith Singers" on the album sleeve.[125]
The recording begins with Harrison's guitar riff,[70] which is then joined by Clapton's guitar, played through a wah-wah pedal.[80] 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.[68] "Wah-Wah" also features prominent percussion, including uncredited maracas and congas,[71] and, in Leng's description, a "rollicking horn chart" from Price that helps define the middle-eight sections.[68] Adding to the musical tension, Janovitz notes, Harrison sings high in his range throughout, "almost drowned out" by Spector's Wall of Sound,[79] which sees keyboards, horns and the many guitar parts competing for space in the mix.[80] The song fades out on the single-chord main riff, accompanied by the sound of a car engine changing gear.[126]
Release[edit]
Apple Records issued All Things Must Pass on 27 November 1970[127] with "Wah-Wah" sequenced as the third track, between "My Sweet Lord" and "Isn't It a Pity".[92] Despite its unusually high retail price, as one of rock music's first studio triple LP sets,[128][129] the album was a significant commercial success worldwide,[122][130] and comfortably outperformed Lennon and McCartney's respective solo releases over 1970–71.[131] Music journalist Anthony DeCurtis later wrote of the album representing "[the] bracing air of creative liberation" for Harrison.[132]
Like "Isn't It a Pity", the song "All Things Must Pass",[132] and Barry Feinstein's cover photo of Harrison surrounded by four comical-looking garden gnomes,[129] "Wah-Wah" was recognised as a comment by Harrison on his Beatle past.[133][134] In February 1971, he, Lennon and Starr united in the British high court to challenge McCartney's suit to dissolve the band's legal partnership,[135] all three of them submitting affidavits that mentioned their difficult experiences of working with him, particularly during the Get Back sessions.[136] In the context of this post-breakup unity, "Wah-Wah" was widely assumed to be directed at McCartney only,[98][137] just as Harrison's walkout two years before was thought to have been due solely to McCartney.[4][51][56]
Reception and legacy[edit]
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.[138] 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".[1] 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".[139]
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".[79] 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."[81] 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".[140] 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".[141]
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."[142] 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".[70] 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.[65]
Still dissatisfied with Spector's "Cinemascope"-like production on "Wah-Wah",[121] when All Things Must Pass was 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.[143] 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.[144] In the 2000 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."[145]
Live version[edit]
On 1 August 1971, Harrison performed "Wah-Wah" as the opening song for the rock-music portion of the two Concert for Bangladesh shows,[146] held at Madison Square Garden in New York.[147] 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".[148] The running order of the Concert for Bangladesh live album follows the setlist for the second show that day,[149] 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."[150] Re-creating the Wall of Sound from All Things Must Pass,[151] Harrison was backed by a large band that again included Clapton, Starr, Preston, Voormann and Badfinger,[152] together with musicians such as Leon Russell, saxophonist Jim Horn and drummer Jim Keltner,[153] and a group of seven backing singers.[154]
The recording of "Wah-Wah" that appears on the live album was a composite of the audio from both the afternoon and evening shows[155] – one of the few examples of studio manipulation on an otherwise faithful record of the concert.[156] Due to technical problems with the film footage, the "Wah-Wah" segment in Saul Swimmer's concert documentary was created through a series of edits and cuts between visuals from the first and second shows.[157]
Harrison's staging of the two benefit concerts enhanced his standing as the most popular of the former Beatles;[131][158][159] Doggett describes him as having become "arguably music's most influential figure" over this period.[160] In a laudatory review of the Concert for Bangladesh album, for Rolling Stone,[161][162] Jon Landau described "Wah-Wah" as "a simple statement by a musician who knows who he is and what he wants to play".[163] Like Rodriguez, who considers that the song "truly [came] into its own" that day,[57] 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."[45]
Cover versions[edit]
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.[164] Jeff Lynne, Eric Clapton and Andy Fairweather-Low shared lead vocals on the song.[165] The band also featured Harrison's son 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.[166][167] This performance was released on the album of the concert;[165] although left off the theatrical release of David Leland's Concert for George documentary film, it was subsequently included on the DVD release.[168]
Alternative band B.A.L.L. covered "Wah-Wah" on their 1988 album Bird, as part of their parody of early 1970s rock stars such as the former Beatles.[169] 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.[170] Ocean Colour Scene covered the song on their 2005 album A Hyperactive Workout for the Flying Squad,[171][172] and in 2011 former Jefferson Starship vocalist Mickey Thomas released a version on his album Marauder.[173]
The Tedeschi Trucks Band have often included "Wah-Wah" in their live performances.[174][175] Beck performed the song on the US television show Conan in September 2014,[176] as part of a week-long promotion for Harrison's The Apple Years box set.[177] Nick Valensi of the Strokes covered "Wah-Wah" at the George Fest tribute concert that same month,[178] with Matt Sorum, of Guns N' Roses and Velvet Revolver.[179]
Personnel[edit]
The following musicians are believed to have played on the studio version of "Wah-Wah":[68]
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 – acoustic guitar
Joey Molland – acoustic guitar
Klaus Voormann – bass
Ringo Starr – drums
Bobby Keys – saxophones
Jim Price – trumpet, horn arrangement
Mike Gibbins – tambourine
uncredited – maracas, congas
Notes[edit]
Jump up ^ The previous year, Lennon and McCartney had similarly shown no interest in recording Harrison's "While My Guitar Gently Weeps",[25][26] a track that author Mark Hertsgaard has described as "perhaps the single most impressive song on the White Album".[27]
Jump up ^ Later in January, the Harrison compositions "Something", "Old Brown Shoe" and "Isn't It a Pity" were met with more indifference from Lennon and McCartney.[39][40]
Jump up ^ Music journalist John Harris observes that in light of Lennon having offered only a "half-finished" "Don't Let Me Down" and the "pretty execrable" "Dig a Pony", Harrison must have been "enraged ... all the more".[2]
Jump up ^ 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 ..."[61] Lennon named Harrison's "Something" as his favourite track on the Beatles' Abbey Road album, released in September 1969.[9][62]
Jump up ^ 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".[84] Later examples include Lennon's "God"[85] and Harrison's "Sue Me, Sue You Blues",[86] and various tracks on McCartney's Ram album and Lennon's Imagine, most notably "Too Many People" and "How Do You Sleep?"[71]
Jump up ^ 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.[96][97][98] Harrison's aversion to working with McCartney was still apparent before and after the band's Anthology project two decades later.[99][100][101]
Jump up ^ With such a large cast of musicians playing on the album,[106][112] specific contributions to each song remain the subject of conjecture.[113][114] While Gary Wright and Bobby Whitlock were the principal keyboard players throughout the All Things Must Pass sessions,[113] Wright has said that the first Harrison recording he played on was "Isn't It a Pity",[115] the session for which is known to have taken place slightly later, on 2 June 1970.[116][117]
Jump up ^ Whitlock writes of entering the studio and hearing Spector calling out a series of instructions to the engineers: "'Phase the drums,' 'Phase the piano,' followed by 'Phase everything!'"[111]
References[edit]
^ Jump up to: a b Ben Gerson, "George Harrison All Things Must Pass", Rolling Stone, 21 January 1971, p. 46 (retrieved 4 February 2015).
^ Jump up to: a b c d e f Harris, p. 68.
Jump up ^ Leng, pp. 39–40, 55.
^ Jump up to: a b c d e f Martin O'Gorman, "Film on Four", in Mojo: The Beatles' Final Years, p. 73.
Jump up ^ Clayson, pp. 259–60.
Jump up ^ Miles, p. 313.
Jump up ^ Leng, pp. 62–63.
Jump up ^ Leng, pp. 51–53.
^ Jump up to: a b c Mark Lewisohn, "Something Else", in Mojo: The Beatles' Final Years, p. 118.
Jump up ^ Schaffner, p. 115.
Jump up ^ The Editors of Rolling Stone, p. 176.
Jump up ^ Leng, pp. 37–39, 51–54.
Jump up ^ Mitchell Glazer, "Interview with George Harrison", Crawdaddy, February 1977.
Jump up ^ Huntley, p. 18.
Jump up ^ MacDonald, pp. 288–89.
Jump up ^ Clayson, p. 261.
Jump up ^ MacDonald, p. 301.
Jump up ^ Hertsgaard, pp. 250–51, 267.
Jump up ^ Martin O'Gorman, "Film on Four", in Mojo: The Beatles' Final Years, p. 70.
Jump up ^ MacDonald, p. 246.
Jump up ^ Sulpy & Schweighardt, pp. 1–2.
Jump up ^ Hertsgaard, pp. 251, 257.
Jump up ^ Peter Doggett, "Fight to the Finish", in Mojo: The Beatles' Final Years, p. 138.
Jump up ^ Sulpy & Schweighardt, p. 1.
Jump up ^ The Editors of Rolling Stone, p. 38.
Jump up ^ Clayson, pp. 251–52.
Jump up ^ Hertsgaard, p. 252.
Jump up ^ Miles, pp. 327–28.
Jump up ^ Sulpy & Schweighardt, p. 51.
^ Jump up to: a b c d Miles, p. 328.
Jump up ^ Hertsgaard, p. 267.
Jump up ^ Martin O'Gorman, "Film on Four", in Mojo: The Beatles' Final Years, pp. 70–71.
Jump up ^ Huntley, p. 22.
Jump up ^ Sulpy & Schweighardt, p. 173.
Jump up ^ Hertsgaard, pp. 250–51.
Jump up ^ Ringo Starr, in The Beatles, p. 316.
^ Jump up to: a b c Timothy White, "George Harrison – Reconsidered", Musician, November 1987, p. 55.
Jump up ^ Spizer, pp. 212, 220, 223.
Jump up ^ The Editors of Rolling Stone, pp. 38, 39.
Jump up ^ Huntley, pp. 18–19.
Jump up ^ Greene, p. 115.
Jump up ^ Huntley, p. 21.
Jump up ^ Sulpy & Schweighardt, p. 170.
Jump up ^ Huntley, p. 24.
^ Jump up to: a b Andrew Grant Jackson, "Book Excerpt: George Harrison Realizes It's Time to Move On From the Beatles", rollingstone.com, 17 August 2012 (retrieved 29 January 2015).
Jump up ^ Martin O'Gorman, "Film on Four", in Mojo: The Beatles' Final Years, p. 72.
Jump up ^ Sulpy & Schweighardt, pp. 167, 169–70.
^ Jump up to: a b c George Harrison, p. 194.
Jump up ^ Clayson, p. 262.
Jump up ^ Sulpy & Schweighardt, pp. 169–70.
^ Jump up to: a b Huntley, p. 25.
Jump up ^ Doggett, p. 62.
Jump up ^ Dhani Harrison, in George Harrison: Living in the Material World, Disc 2; event occurs between 2:52 and 2:58.
Jump up ^ Olivia Harrison, pp. 192–93.
Jump up ^ Miles, p. 329.
^ Jump up to: a b Jim Irvin, "Close to the Edge", Mojo, December 2003, p. 82.
^ Jump up to: a b Rodriguez, p. 381.
Jump up ^ Miles, pp. 330, 331.
Jump up ^ Clayson, pp. 254, 262.
Jump up ^ Greene, pp. 116–17.
^ Jump up to: a b Fawcett, p. 96.
Jump up ^ MacDonald, p. 306.
Jump up ^ Sulpy & Schweighardt, pp. 63–64, 77.
Jump up ^ Winn, p. 250.
^ Jump up to: a b Huntley, p. 55.
Jump up ^ Leng, p. 86.
Jump up ^ George Harrison, in The Beatles, p. 348.
^ Jump up to: a b c d e f g h Leng, p. 85.
Jump up ^ Mellers, p. 147.
^ Jump up to: a b c Huntley, p. 54.
^ Jump up to: a b c d e f Inglis, p. 25.
Jump up ^ Doggett, p. 141.
Jump up ^ Leng, p. 94.
Jump up ^ "George Harrison – In His Own Words", superseventies.com (retrieved 3 October 2012).
Jump up ^ Doggett, p. 134.
Jump up ^ Huntley, p. 165.
Jump up ^ Leng, pp. 33, 38.
Jump up ^ Greene, p. 116.
^ Jump up to: a b c Bill Janovitz, "George Harrison 'Wah-Wah'", AllMusic (retrieved 25 September 2012).
^ Jump up to: a b c d e Spizer, p. 222.
^ Jump up to: a b John Bergstrom, "George Harrison: All Things Must Pass", PopMatters, 14 January 2011 (retrieved 4 February 2015).
Jump up ^ Sulpy & Schweighardt, pp. 331–32.
Jump up ^ Huntley, p. 27.
Jump up ^ Doggett, pp. 141–42.
Jump up ^ Doggett, p. 142.
Jump up ^ MacDonald, p. 326.
Jump up ^ Leng, pp. 129–30.
Jump up ^ Rodriguez, p. 156.
Jump up ^ Hertsgaard, p. 285.
Jump up ^ Doggett, pp. 121–26.
Jump up ^ O'Dell, pp. 155–56.
^ Jump up to: a b c Spizer, p. 220.
Jump up ^ Badman, p. 6.
^ Jump up to: a b "It's Really a Pity", Contra Band Music, 15 March 2012 (retrieved 4 October 2012).
Jump up ^ Doggett, pp. 133–34.
Jump up ^ Hertsgaard, p. 311.
Jump up ^ Clayson, pp. 351–52.
^ Jump up to: a b Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005), p. 12.
Jump up ^ The Editors of Rolling Stone, p. 48.
Jump up ^ Peter Doggett, "You Never Give Me Your Money", BBC Radio 4 Today, 9 September 2009 (retrieved 13 October 2012).
Jump up ^ Rodriguez, pp. 24, 195–96.
Jump up ^ Schaffner, p. 138.
Jump up ^ Doggett, pp. 130–31.
Jump up ^ Madinger & Easter, p. 428.
Jump up ^ Badman, p. 10.
^ Jump up to: a b Schaffner, p. 142.
Jump up ^ Leng, pp. 79–81, 82fn.
Jump up ^ Clayson, p. 288.
Jump up ^ Whitlock, pp. 76, 79.
Jump up ^ Nick DeRiso, "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).
^ Jump up to: a b Whitlock, p. 76.
Jump up ^ Harris, p. 72.
^ Jump up to: a b Leng, p. 82fn.
Jump up ^ Rodriguez, p. 76.
Jump up ^ Shawn Perry, "The Gary Wright Interview", vintagerock.com, 2009 (retrieved 1 February 2015).
Jump up ^ Madinger & Easter, pp. 427, 428.
Jump up ^ Spizer, p. 212.
Jump up ^ Mat Snow, "George Harrison: Quiet Storm", Mojo, November 2014, p. 70.
Jump up ^ All Things Must Pass (30th Anniversary Edition) EPK, Gnome Records/EMI, 2001.
^ Jump up to: a b c George Harrison, in George Harrison: Living in the Material World, Disc 2; event occurs between 23:53 and 24:25.
^ Jump up to: a b The Editors of Rolling Stone, p. 180.
^ Jump up to: a b Madinger & Easter, p. 427.
Jump up ^ "All Things Must Pass (album)", The Beatles Bible (retrieved 3 February 2015).
Jump up ^ Whitlock, p. 79.
Jump up ^ Castleman & Podrazik, p. 195.
Jump up ^ Clayson, p. 292.
Jump up ^ Castleman & Podrazik, p. 94.
Jump up ^ Schaffner, p. 140.
^ Jump up to: a b Harris, p. 73.
Jump up ^ Rodriguez, pp. 5–6.
^ Jump up to: a b Peter Doggett, "George Harrison: The Apple Years", Record Collector, April 2001, p. 37.
^ Jump up to: a b Anthony DeCurtis, "George Harrison All Things Must Pass". Archived from the original on 14 August 2006. Rolling Stone, 12 October 2000 (retrieved 4 October 2012).
Jump up ^ 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", George Harrison – All Things Must Pass (retrieved 4 October 2012).
Jump up ^ The Editors of Rolling Stone, p. 40.
Jump up ^ Huntley, pp. 65–66.
Jump up ^ Badman, pp. 27–28, 31.
Jump up ^ Neal Alpert, "George Harrison's Concert for Bangladesh", Gadfly Online, December 2001 (retrieved 5 October 2012).
Jump up ^ Rodriguez, pp. 147, 253.
Jump up ^ Alan Smith, "George Harrison: All Things Must Pass (Apple)", NME, 5 December 1970, p. 2; available at Rock's Backpages (subscription required).
Jump up ^ Ingham, pp. 132–33.
Jump up ^ Paul Du Noyer, "George Harrison's All Things Must Pass", pauldunoyer.com, 13 March 2009 (retrieved 29 January 2015).
Jump up ^ Leng, pp. 85–86.
Jump up ^ Huntley, pp. 305–06.
Jump up ^ Huntley, pp. 12, 23–24.
Jump up ^ George Harrison, in The Beatles, p. 316.
Jump up ^ Madinger & Easter, pp. 436–37.
Jump up ^ Badman, pp. 43–44.
Jump up ^ Clayson, p. 312.
Jump up ^ Madinger & Easter, pp. 436–38.
Jump up ^ Greene, p. 190.
Jump up ^ Schaffner, p. 147.
Jump up ^ Richard S. Ginell, "George Harrison The Concert for Bangladesh", AllMusic (retrieved 5 February 2015).
Jump up ^ The Editors of Rolling Stone, pp. 42, 122.
Jump up ^ Spizer, p. 241.
Jump up ^ Spizer, p. 242.
Jump up ^ Madinger & Easter, pp. 436, 438.
Jump up ^ George Harrison, pp. 60–61.
Jump up ^ Harris, pp. 73–74.
Jump up ^ Schaffner, pp. 147, 159.
Jump up ^ Doggett, p. 175.
Jump up ^ Spizer, p. 246.
Jump up ^ Huntley, pp. 80–81.
Jump up ^ Jon Landau, "George Harrison, Concert for Bangla Desh", Rolling Stone, 3 February 1972 (retrieved 6 October 2012).
Jump up ^ Inglis, p. 127.
^ Jump up to: a b Stephen Thomas Erlewine, "Original Soundtrack Concert for George", AllMusic (retrieved 8 October 2012).
Jump up ^ Concert for George DVD (Warner Strategic Marketing, 2003; directed by David Leland; produced by Ray Cooper, Olivia Harrison, Jon Kamen & Brian Roylance).
Jump up ^ Leng, pp. 310–11.
Jump up ^ William Ruhlmann, Various Artists A Concert for George (Video)", AllMusic (retrieved 16 July 2015).
Jump up ^ Glenn Kenny, "B.A.L.L.", Trouser Press, 2007 (retrieved 11 December 2015).
Jump up ^ "Buffalo Tom – Fortune Teller", Discogs (retrieved 12 January 2013).
Jump up ^ Stephen Thomas Erlewine, "Ocean Colour Scene A Hyperactive Workout for the Flying Squad", AllMusic (retrieved 8 October 2012).
Jump up ^ "A Hyperactive Workout for the Flying Squad – Ocean Colour Scene", Second Hand Songs (retrieved 6 October 2012).
Jump up ^ William Ruhlmann, "Mickey Thomas Marauder", AllMusic (retrieved 25 September 2012).
Jump up ^ Nicole Pensiero, "Featured pop shows: Tedeschi Trucks Band, Paul Jost, and David Bromberg", philly.com, 28 November 2014 (retrieved 1 February 2015).
Jump up ^ Craig Young, "Tedeschi Trucks Band – 'Wah Wah'", No Depression, 16 November 2013 (retrieved 1 February 2015).
Jump up ^ Evan Minsker, "Beck Covers George Harrison's 'Wah-Wah' on 'Conan'", Pitchfork Media, 22 September 2014 (retrieved 25 September 2014).
Jump up ^ Erin Strecker, "Paul Simon Performs 'Here Comes The Sun' for George Harrison Week on 'Conan'", billboard.com, 24 September 2014 (retrieved 25 September 2014).
Jump up ^ Lindsey Best, "The Best Fest's George Fest 2014", The Huffington Post, 6 October 2014 (retrieved 17 July 2015).
Jump up ^ Bailey Pennick, "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).
Sources[edit]
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, 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: 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).
[show]
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Scooby-Doo, Where Are You!
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Scooby-Doo, Where Are You!
Genre
Animation
Comedy horror
Mystery
Adventure
Children's television series[1][2]
Created by
Joe Ruby
Ken Spears
Developed by
Joseph Barbera
William Hanna
Iwao Takamoto
Fred Silverman
Directed by
Joseph Barbera
William Hanna
Charles A. Nichols (1978)
Voices of
Don Messick
Casey Kasem
Frank Welker
Nicole Jaffe (1969–70)
Stefanianna Christopherson (1969–70)
Heather North (1970–78)
Pat Stevens (1978)
Theme music composer
David Mook
Ben Raleigh
Opening theme
"Scooby-Doo, Where Are You!" performed by
Larry Marks
(1969–70, 1978)[3]
George A. Robertson, Jr. (1970)
Composer(s)
Ted Nichols (1969–70)
Hoyt Curtin (1978)
Country of origin
United States
Original language(s)
English
No. of seasons
3
No. of episodes
41 (list of episodes)
Production
Executive producer(s)
William Hanna
Joseph Barbera
Producer(s)
Joseph Barbera
William Hanna
Don Jurwich (1978)
Running time
21 minutes approx
Production company(s)
Hanna-Barbera Productions
Distributor
Taft Broadcasting (1969–88)
Great American Broadcasting (1988–91)
Turner Program Services (1992–98)[4]
Warner Bros. Television Distribution (1999–present)
Release
Original network
CBS (1969–70)
ABC (1978)
Picture format
Film
4:3
480i
Audio format
Monaural
Original release
Original series
September 13, 1969 (1969-09-13) – October 31, 1970 (1970-10-31)
Revival series
September 9, 1978 (1978-09-09) – November 4, 1978 (1978-11-04)
Chronology
Followed by
The New Scooby-Doo Movies (1972–73)
Scooby-Doo, Where Are You![5] is an American animated mystery comedy television series produced by Hanna-Barbera. Produced for CBS, the series premiered as part of the network's Saturday morning schedule on September 13, 1969, and aired for two seasons until October 31, 1970. In 1978, a selection of episodes from the later series Scooby's All-Stars and The Scooby-Doo Show were aired on ABC under the Scooby-Doo, Where Are You! name and, as such, is sometimes marketed as its third season.[6]
The series centers on a group of characters consisting of four teenagers—Fred Jones, Daphne Blake, Velma Dinkley, and Norville "Shaggy" Rogers—and the title character a semi-anthropomorphic Great Dane named Scooby-Doo. The group travel in a van named the Mystery Machine, solving mysteries involving several local legends; in doing so, they discover that the perpetrator is almost invariably a disguised person who seeks to exploit the legend for personal gain.
Scooby-Doo, Where Are You! was the first incarnation of what would eventually become a long-running media franchise, which primarily consists of subsequent animated series, several films, and related merchandise.
Contents
[hide]
1 Origin
2 Writing
3 Episodes
4 Music
5 Cast
6 Release and reception
7 Home media
8 See also
9 References
10 External links
Origin[edit]
Further information: Scooby-Doo
Scooby Doo, Where Are You! was the result of CBS and Hanna-Barbera's plans to create a non-violent Saturday morning program that would appease the parent watch groups that had protested the superhero-based programs of the mid-1960s.[7] Originally titled Mysteries Five, and later Who's S-S-Scared?, Scooby Doo, Where Are You! underwent a number of changes from script to screen (the most significant being the downplaying of the musical group angle borrowed from The Archie Show). However, the basic concept—four teenagers (Fred, Daphne, Velma, and Shaggy) and a cowardly, clumsy Great Dane (Scooby-Doo) solving supernatural-related mysteries—was always in place.[8]
Writing[edit]
Scooby-Doo creators Joe Ruby and Ken Spears served as the story supervisors on the series.[9] Ruby, Spears, and Bill Lutz wrote all of the scripts for the seventeen first-season episodes, while Lutz, Larz Bourne, and Tom Dagenais wrote the eight second-season episodes with Ruby and Spears as story editors. The plot varied little from episode to episode. The main concept was as follows:
The gang is driving in the Mystery Machine, returning from or going to a regular teenage function, when their van develops engine trouble or breaks down for any of a variety of reasons (overheating, flat tire, out of gas, etc.), in the immediate vicinity of a large, mostly vacated property (ski lodge, hotel, factory, mansion, cruise ship, etc.).
Their (unintended) destination turns out to be suffering from a monster problem (ghosts, Yetis, vampires, witches, etc.). The gang volunteers to investigate the case.
The gang splits up to cover more ground, with Fred and Velma finding clues, Daphne finding danger, and Shaggy and Scooby finding food, fun, and the ghost/monster, who chases them. Scooby and Shaggy love to eat, including dog treats called Scooby Snacks which are a favorite of both the dog and the teenage boy.
Eventually, enough clues are found to convince the gang that the ghost/monster is a fake, and a trap is set (usually by Fred) to capture it; or, they may occasionally call the local sheriff, only to get stopped by the villain half-way.
If a trap is used, it may or may not work (more often than not, Scooby-Doo and/or Shaggy falls into the trap and/or they unwittingly catch the monster another way). Invariably, the ghost/monster is apprehended and unmasked. The person in the ghost or monster suit turns out to be an apparently blameless authority figure or otherwise innocuous local who is using the disguise to cover up something such as a crime or a scam.
After giving the parting shot of "And I would have gotten away with it too, if it weren't for you meddling kids", the offender is then taken away to jail, and the gang is allowed to continue on the way to their destination.
Episodes[edit]
Main article: List of Scooby-Doo, Where Are You! episodes
Music[edit]
The second season featured bubblegum "chase scene" songs produced by La La Productions (which had originally been contracted to create the music for Josie and the Pussycats, the first of many animated series made from the same mold as Scooby-Doo, Where Are You!). These songs were written by Danny Janssen and Austin Roberts, and were performed by Roberts, who also made a new recording of the Scooby Doo, Where Are You! theme song for the second season. The series' theme song has been covered by several subsequent artists, including Matthew Sweet for the 1995 TV special and album Saturday Morning: Cartoons' Greatest Hits; Third Eye Blind for the 1998 film Scooby-Doo on Zombie Island; Billy Ray Cyrus for Scooby-Doo! and the Witch's Ghost (1999); Jennifer Love Hewitt for Scooby-Doo and the Alien Invaders (2000); the B-52's (Cindy, Kate and Fred) for Scooby-Doo and the Cyber Chase (2001); MxPx for the live-action Scooby-Doo film (2002); and Krystal Harris for Scooby-Doo! and the Legend of the Vampire (2003).
Scooby-Doo, Where Are You! utilized a laugh track, a common feature in most animated TV series until the late 1970s. It was removed for syndication in the 1980s. Following Turner's purchase of Hanna-Barbera and its networks' (TBS, TNT and Cartoon Network) initial broadcast of the series in 1994, the laugh track was reinstated in 1997.
Cast[edit]
Don Messick as Scooby-Doo
Casey Kasem as Norville "Shaggy" Rogers
Frank Welker as Fred Jones
Stefanianna Christopherson as Daphne Blake (season 1)
Heather North as Daphne Blake (seasons 2 and 3)
Nicole Jaffe as Velma Dinkley (seasons 1 and 2)
Pat Stevens as Velma Dinkley (season 3)
Release and reception[edit]
Scooby Doo, Where Are You! was a hit for Hanna-Barbera and CBS, which led Hanna-Barbera to eventually create series with similar concepts on ABC, NBC, and CBS, including, Josie and the Pussycats, The Pebbles and Bamm-Bamm Show, The Pebbles, Dino and Bamm-Bamm segments on The Flintstone Comedy Show, The Funky Phantom, Speed Buggy, Jeannie, Jabberjaw, The Amazing Chan and the Chan Clan, Inch High Private Eye, Goober and the Ghost Chasers, Clue Club, Captain Caveman and the Teen Angels, Butch Cassidy and the Sundance Kids, and The New Shmoo.
In 2005, Scooby Doo, Where Are You! came 49th in Channel 4's 100 Greatest Cartoons,[10] in the UK, and was more recently voted the 8th greatest Kids' TV Show by viewers of the same channel.[11] It was ranked the 24th greatest cartoon on IGN's Top 100 Animated Series.[12]
Home media[edit]
On July 4, 2002, Warner Home Video released four episodes from the series on a compilation DVD in Region 1 entitled Scooby-Doo's Creepiest Capers. They later released all 25 episodes on DVD in Region 1 on March 16, 2004 under the title Scooby-Doo, Where Are You! The Complete First and Second Seasons.[13] A DVD entitled Scooby-Doo, Where Are You! The Complete Third Season was released on April 10, 2007, made up of episodes produced in 1978, added to the Scooby's All-Stars package, and later syndicated as part of The Scooby-Doo Show.[14]
On November 9, 2010, Warner Home Video released Scooby-Doo, Where Are You!: The Complete Series. The 8 disc set features all 25 episodes of the series plus the 16 episodes produced in 1978 which aired as part of Scooby's All-Stars. The set is encased in special collectible packaging in the form of a Mystery Machine replica. In addition, it also features a special bonus disc filled with new and archival material.[15] The set was re-released on November 13, 2012.
Starting on January 27, 2009, Warner Home Video released single disc DVDs with four episodes each plus an episode from Shaggy and Scooby-Doo Get a Clue. Four volumes have been released through October 19, 2010.[16]
DVD name
Episode count
Release date
SxE
Episodes include
Scooby-Doo's Original Mysteries 5 2000 1x01 What a Night for a Knight
1x02 Hassle in the Castle
1x03 A Clue for Scooby-Doo
1x04 Mine Your Own Business
1x05 Decoy for a Dognapper
Scooby-Doo's Spookiest Tales 5 August 21, 2001 2x02
(The Scooby-Doo Show) Vampire Bats and Scaredy Cats
1x11 A Gaggle of Galloping Ghosts
1x17 That's Snow Ghost
1x13 Which Witch is Which?
1x05
(The Scooby-Doo Show) The Headless Horseman of Halloween
Scooby-Doo's Creepiest Capers 4 July 4, 2002 1x15 Go Away Ghost Ship
1x02 Hassle in the Castle
2x05 The Haunted House Hang-Up
1x16 A Night of Fright is No Delight
Scooby-Doo's Greatest Mysteries 4 2004 1x03 A Clue for Scooby Doo
1x02 Hassle in the Castle
2x03 Jeepers, It's the Creeper
1x09 The Backstage Rage
Seasons 1 and 2 25 March 16, 2004 (2004-03-16) 1x01–2x08 This four-disc release contained all episodes from the first two seasons
Season 3 16 April 10, 2007 (2007-04-10) 3x01–16 All episodes from the third and final season
Volume 1 – A Monster Catch 4 (plus one bonus episode) January 27, 2009 (2009-01-27) 1x01 What a Night for a Knight
1x02 Hassle in the Castle
1x03 A Clue for Scooby Doo
1x04 Mine Your Own Business
1x01
(Shaggy & Scooby-Doo Get a Clue!) Shags to Riches
Volume 2 – Bump In The Night 4 (plus one bonus episode) May 5, 2009 1x05 Decoy for a Dognapper
1x06 What the Hex Going On?
1x07 Never Ape an Ape Man
1x08 Foul Play in Funland
1x02
(Shaggy & Scooby-Doo Get a Clue!) More Fondue for Scooby-Doo!
Volume 3 – Hello Mummy 4 (plus one bonus episode) September 1, 2009 1x09 The Backstage Rage
1x10 Bedlam in the Big Top
1x11 A Gaggle of Galloping Ghosts
1x12 Scooby Doo and a Mummy, Too
1x03
(Shaggy & Scooby-Doo Get a Clue!) High Society Scooby
Volume 4 – Spooky Bayou 4 (plus one bonus episode) October 19, 2010 1x13 Which Witch is Which?
1x15 Go Away Ghost Ship
1x14 Spooky Space Kook
1x16 A Night of Fright is No Delight
1x06
(Shaggy & Scooby-Doo Get a Clue!) Lightning Strikes Twice
The Complete Series 41 November 9, 2010 (2010-11-09)
November 13, 2012 (2012-11-13) (Re-issue) 1x01–3x16 All episodes from the entire series
See also[edit]
List of works produced by Hanna-Barbera Productions
Television in the United States portal
1960s portal
1970s portal
Cartoon portal
References[edit]
Jump up ^ "Scooby-Doo, Where Are You! [Animated TV Series]". AllMovie. Retrieved November 23, 2012.
Jump up ^ "Scooby-Doo, Where Are You?". British Film Institute. Retrieved November 23, 2012.
Jump up ^ "Super '70s and '80s: "Scooby-Doo, Where Are You!"—Larry Marks, theme song singer, season 1". Retrieved 14 November 2015.
Jump up ^ Jensen, Jeff (1995-01-16). "Hanna-Barbera toons in to reclaim heritage; studio lays plans to nurture brands, merchandise". Advertising Age: 4.
Jump up ^ Later iterations of the series added a hyphen to spell the character's name "Scooby-Doo". However, the first series and such spinoffs as Gold Key Comics' Hanna-Barbera Scooby Doo... Where Are You! and Scooby Doo... Mystery Comics used no hyphen.
Jump up ^ Lenberg, Jeff (2006). The Encyclopedia of Animated Cartoons. New York: Facts of File. ISBN 0-8160-6599-3. pp. 618–619.
Jump up ^ Cronin, Brian (September 25, 2013). "TV Legends Revealed | Jinkies! The Mysterious Origins of 'Scooby-Doo'". Comic Book Resources. Retrieved August 5, 2015.
Jump up ^ Mikkelson, Barbara (May 22, 2006). "Scooby-Doo, What Is You?". Snopes.com. Retrieved August 5, 2015.
Jump up ^ Shostak, Stu (05-02-2012). "Interview with Joe Ruby and Ken Spears". Stu's Show. Retrieved 03-18-2013.
Jump up ^ [1] Archived September 3, 2005, at the Wayback Machine.
Jump up ^ [2] Archived February 4, 2007, at the Wayback Machine.
Jump up ^ "Top 100 Animated Series—Scooby-Doo, Where Are You!". IGN.com. Retrieved 11 December 2012.
Jump up ^ "Scooby Doo, Where Are You! - The Complete First and Second Seasons : DVD Talk Review of the DVD Video". Dvdtalk.com. 2004-03-16. Retrieved 2014-03-10.
Jump up ^ "Scooby Doo, Where Are You! - The Complete Third Season : DVD Talk Review of the DVD Video". Dvdtalk.com. Retrieved 2014-03-10.
Jump up ^ Lacey, Gord. "Scooby-Doo, Where Are You! - Complete Series Announced - Mystery Machine Packaging!". Retrieved 11 December 2012.
Jump up ^ "Scooby-Doo, Where Are You! DVD news: Announcement for Scooby-Doo, Where Are You! - Season 1, Volume 4: Spooked Bayou". TVShowsOnDVD.com. Retrieved 2014-03-10.
External links[edit]
Wikiquote has quotations related to: Scooby-Doo, Where Are You!
Official Scooby-Doo website
Scooby Doo, Where Are You! at the Big Cartoon DataBase
Scooby-Doo, Where Are You! on IMDb
Scooby-Doo, Where Are You!? at TV.com
Cartoon Network: Dept. of Cartoons: Scooby-Doo, Where Are You!—cached copy from Internet Archive
"Hanna-Barbera Studios" (and sub-articles), The Big Cartoon DataBase
[show]
v
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Scooby-Doo
Characters
Scooby-Doo
Shaggy Rogers
Daphne Blake
Fred Jones
Velma Dinkley
Scrappy-Doo
Television shows
Scooby-Doo, Where Are You!
episodes (1969–1970)
The New Scooby-Doo Movies
episodes (1972–73)
The Scooby-Doo Show
episodes (1976–78)
Scooby-Doo and Scrappy-Doo (1979–1980)
Scooby-Doo and Scrappy-Doo (1980–82)
The New Scooby and Scrappy-Doo Show/The New Scooby-Doo Mysteries (1983–84)
The 13 Ghosts of Scooby-Doo (1985)
A Pup Named Scooby-Doo
episodes (1988–1991)
What's New, Scooby-Doo?
episodes (2002–06)
Shaggy & Scooby-Doo Get a Clue!
episodes (2006–08)
Scooby-Doo! Mystery Incorporated
episodes (2010–13)
Be Cool, Scooby-Doo! (2015–18)
Package shows and
programming blocks
The Scooby-Doo/Dynomutt Hour (1976–77)
Scooby's All-Star Laff-A-Lympics/Scooby's All-Stars (1977–78)
The Richie Rich/Scooby-Doo Show (1980–81)
The Scooby & Scrappy-Doo/Puppy Hour (1982)
Scary Scooby Funnies (1984–85)
Scooby's Mystery Funhouse (1985–86)
Television films
and specials
Hanna-Barbera's All-Star Comedy Ice Revue (1978)
Scooby Goes Hollywood (1979)
Scooby-Doo Meets the Boo Brothers (1987)
Scooby-Doo and the Ghoul School (1988)
Scooby-Doo! and the Reluctant Werewolf (1988)
Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration (1989)
Scooby-Doo! in Arabian Nights (1994)
Scooby-Doo: Behind the Scenes (1998)
Night of the Living Doo (2001)
Scooby-Doo! Spooky Games (2012)
Scooby-Doo! Haunted Holidays (2012)
Scooby-Doo! and the Spooky Scarecrow (2013)
Scooby-Doo! Mecha Mutt Menace (2013)
Scooby-Doo! Ghastly Goals (2014)
Scooby-Doo! and the Beach Beastie (2015)
Lego Scooby-Doo! Knight Time Terror (2015)
Direct-to-video films
Scooby-Doo on Zombie Island (1998)
Scooby-Doo! and the Witch's Ghost (1999)
Scooby-Doo and the Alien Invaders (2000)
Scooby-Doo and the Cyber Chase (2001)
Scooby-Doo! and the Legend of the Vampire (2003)
Scooby-Doo! and the Monster of Mexico (2003)
Scooby-Doo! and the Loch Ness Monster (2004)
Aloha, Scooby-Doo! (2005)
Scooby-Doo! in Where's My Mummy? (2005)
Scooby-Doo! Pirates Ahoy! (2006)
Chill Out, Scooby-Doo! (2007)
Scooby-Doo! and the Goblin King (2008)
Scooby-Doo! and the Samurai Sword (2009)
Scooby-Doo! Abracadabra-Doo (2010)
Scooby-Doo! Camp Scare (2010)
Scooby-Doo! Legend of the Phantosaur (2011)
Scooby-Doo! Music of the Vampire (2012)
Big Top Scooby-Doo! (2012)
Scooby-Doo! Mask of the Blue Falcon (2013)
Scooby-Doo! Adventures: The Mystery Map (2013)
Scooby-Doo! Stage Fright (2013)
Scooby-Doo! WrestleMania Mystery (2014)
Scooby-Doo! Frankencreepy (2014)
Scooby-Doo! Moon Monster Madness (2015)
Scooby-Doo! and Kiss: Rock and Roll Mystery (2015)
Lego Scooby-Doo! Haunted Hollywood (2016)
Scooby-Doo! and WWE: Curse of the Speed Demon (2016)
Scooby-Doo! Shaggy's Showdown (2017)
Lego Scooby-Doo! Blowout Beach Bash (2017)
Scooby-Doo! & Batman: The Brave and the Bold (2018)
Live-action films
Scooby-Doo (2002)
2: Monsters Unleashed (2004)
The Mystery Begins (2009)
Curse of the Lake Monster (2010)
Daphne & Velma (2018)
Video games
Scooby-Doo (1986)
Mystery (1995)
Mystery of the Fun Park Phantom (1999)
Mystery Adventures (2000)
Classic Creep Capers (2000)
The Cyber Chase (2001)
Night of 100 Frights (2002)
Mystery Mayhem (2004)
Unmasked (2005)
Who's Watching Who? (2006)
First Frights (2009)
Spooky Swamp (2010)
Amusement rides
The Funtastic World of Hanna-Barbera (1990)
Ghoster Coaster (1998)
Haunted Mansion (2001)
Spooky Coaster (2002)
Comic books
Scooby Apocalypse (2016)
Soundtracks
Snack Tracks: The Ultimate Collection (1998)
Scooby-Doo (2002)
Miscellaneous
Scooby Snacks
"Scoobynatural"
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Animation in the United States in the television era
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Children's programming on the American Broadcasting Company in the 1970s
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Korg: 70,000 B.C. (1974–75)
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Bigfoot and Wildboy
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Animals, Animals, Animals (1976–81)
ABC Weekend Special (1977–97)
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Rebroadcasts
George of the Jungle (1967–70)
Bewitched (1972–73)
Jonny Quest (1970–72)
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[show]
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Children's programming on the American Broadcasting Company in the 1980s
First-run animated series
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The Scooby & Scrappy-Doo/Puppy Hour (1982–83)
The Puppy's Further Adventures (1982–84)
Monchhichis (1983–84)
Rubik, the Amazing Cube (1983–85)
The Littles (1983–86)
Super Friends: The Legendary Super Powers Show (1984–85)
Mighty Orbots (1984–85)
Turbo Teen (1984–85)
Dragon's Lair (1984–85)
The New Scooby and Scrappy-Doo Show/The New Scooby-Doo Mysteries (1983–84)
Ewoks (1985–87)
Droids (1985–86)
The Super Powers Team: Galactic Guardians (1985–86)
The 13 Ghosts of Scooby-Doo (1985)
Pound Puppies (1986–87)
Popples (1986-87)
The Care Bears (1986–88)
The Flintstone Kids (1986–89)
The Real Ghostbusters (1986–91)
My Pet Monster (1987–88)
The New Adventures of Beany and Cecil (1988)
The New Adventures of Winnie the Pooh (1988–1991)
A Pup Named Scooby-Doo (1988–91)
Disney's Adventures of the Gummi Bears (1989–90)
Beetlejuice (1989–92)
First-run live-action series
ABC Weekend Special (1977–97)
American Bandstand (1957–87)
Animals, Animals, Animals (1976–81)
Kids Are People Too (1978–82)
Menudo on ABC (1983–85)
ABC Funfit (1985)
ABC Fun Facts (1988)
Rebroadcasts
The Best of Scooby-Doo (1983–84)
The Bugs Bunny Show (1985–2000)
Scary Scooby Funnies (1984–85)
Scooby's Mystery Funhouse (1985–86)
Pink Panther and Sons (1986)
The Wuzzles (1986–87)
Schedules
1979–80
1980–81
1981–82
1982–83
1983–84
1984–85
1985–86
1986–87
1987–88
1988–89
1989–90
Related programming and topics
Animation in the United States in the television era
Modern animation in the United States
Retrieved from "https://en.wikipedia.org/w/index.php?title=Scooby-Doo,_Where_Are_You!&oldid=837901708"
Categories:
1960s American animated television series
1969 American television series debuts
1970s American animated television series
1978 American television series endings
CBS network shows
American Broadcasting Company network shows
English-language television programs
Scooby-Doo television series
Television series by Hanna-Barbera
American children's animated adventure television series
American children's animated comedy television series
American children's animated fantasy television series
American children's animated mystery television series
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