Good one!
Who is the man that would Risk his neck...haha
Theme from Shaft
Two others come to mind in how they go from straight playing to the pedal
Issac’s take of The Look of Love
& Maggot Brain (Funkadelic)

Of course George’s Wah Wah comes right to mind, especially having just seen that funny SNL clip (EC on wah wah pedal?)

“Outside my window, is a tree” wah wah, wah wah wah....great stuff by Eric on World of Pain
Devon Allman uses the pedal to Xclnt effect thruout Honeytribe’s Space Age Blues CD
Must also mention the song Just Don’t Do It, by Little Sister, on the Horde Tour CD - real nice almost understated wah wah playing
My favorite Jimi wah wah playing is the end of Still Raining Still Dreaming - also My Friend....

[Edited on 3/1/2020 by Stephen]

My first thought too, other than Clapton Hendrix was Theme from Shaft - Isaac Hayes
Burning of the Midnight Lamp - Jimi Hendrix
Clapton Clapton Clapton Jimi Jimi Jimi

Then this one, great youtube montage :

Land of a Thousand Nights - Mahogany Rush, man I love this song, one of the alltime great intros

https://m.youtube.com/watch?v=mVeAMcjJ5jA

Might not be wah, just flange and phase shifter O.D., but I think to get that perfect spine scratch gut wobble he was pushing light on the wah. Maybe not. Killer song.tho

Great thread!

This Sco-Mule is bar none the best track to be found for all your wah wah nerds.

Danny Lewis does an awesome wah-key solo and then he and a Warren both go wah-berserk for the last third. Just wahsomr

https://m.youtube.com/watch?v=N_hbxsPzhso

Great thread!

This Sco-Mule is bar none the best track to be found for all your wah wah nerds.

Danny Lewis does an awesome wah-key solo and then he and a Warren both go wah-berserk for the last third. Just wahsomr

https://m.youtube.com/watch?v=N_hbxsPzhso

I was just listening to Clapton wah wah with Derek and the Dominos last night. I guess that is my favorite.

Question for the wahwah scholars here - can anyone tell me who first used the wahwah? Who invented the device?

Or was it just kinda there all along waiting around until Clapton made us aware of it?

Estimated Prophet - Grateful Dead

There's quite a few from SRV, Trower, & Jimi. ALL great! Frampton, Jeff Beck, & Joe Perry too. The 1st tune to jump in my head was Still Raining, Still Dreaming by Jimi Hendrix, so I'll go with that, but Too Rolling Stoned, Voodoo Child, Telephone Song, Nobody's Fault (Aerosmith) are right there.

White Room - Cream (Clapton)

Hendrix's solo in Watchtower pretty much blew my brain open as a kid.

[Edited on 3/2/2020 by jparadise]

Did Jerry Garcia use a wah wah or an envelope filter?

I like Steven Stills' "Season of the Witch" wah wah on Super Sessions.

Also Jeff Beck's on "Ain't Superstitious."

Mick Ronson just turned the wah on and let it sit to get great treble distortion live - check out "Moonage Daydream" from Santa Monica 1972.

Did Jerry Garcia use a wah wah or an envelope filter?

Envelope filter (auto-wah). I doubt anyone could pull that off with a manual wahwah pedal.

Hendrix's solo in Watchtower pretty much blew my brain open as a kid.

I was just about to write Watchtower. I always believed the pedal was named after sounds Jimi made during that song.

Just listened to Jeff Beck on the Truth Lp doing I aint Superstitious
The LP liner notes said that "this number is more or less an excuse for being flash on guitar. " Enuf said.
Great Wah tune
so is Tales of Brave Ulysses by Cream on Disraeli Grears

Change My Way Of Living

Bulls on Parade

Question for the wahwah scholars here - can anyone tell me who first used the wahwah? Who invented the device?

Or was it just kinda there all along waiting around until Clapton made us aware of it?

https://en.wikipedia.org/wiki/Wah-wah_pedal

(From the Wiki)
The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc./Thomas Organ Company in November 1966. This pedal is the original prototype made from a transistorized MRB (mid-range boost) potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not new. Country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of "Hot Toddy" and "Slinkey". Jazz guitarist Peter Van Wood had a modified Hammond organ expression pedal; he recorded in 1955 a version of George Gershwin's "Summertime" with a "crying" tone, and other recordings including humorous "novelty" effects. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, and in Dave Berry's song "The Crying Game".

The creation of the modern wah pedal was an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. Warwick Electronics Inc. also owned Thomas Organ Company and had earlier entered into an agreement with Jennings Musical Instruments (JMI) of England for Thomas to distribute the Vox name and products in the United States. In addition to distributing the British-made Vox amplifiers, the Thomas Organ Company also designed and manufactured much of the Vox equipment sold in the US The more highly regarded British Vox amplifiers were designed by Dick Denney and made by JMI, the parent company of Vox. Warwick assigned Thomas Organ Company to create a new product line of solid state Vox amplifiers called Vox Amplifonic Orchestra, which included the Super Beatle amplifier, named to capitalize on the Vox brand name's popularity in association with the Beatles, who used the JMI English Vox amplifiers such as the famous Vox AC30 (although the Beatles did use several American-made Super Beatle units on their 1966 US tour). The US-made Vox product line development was headed by musician and bandleader Bill Page. While creating the Vox Amplifonic Orchestra, the Thomas Organ Company decided to create an American-made equivalent of the British Vox amplifier but with transistorized (solid state) circuits, rather than vacuum tubes, which would be less expensive to manufacture. During the re-design of the USA Vox amplifier, Stan Cuttler, head engineer of Thomas Organ Company, assigned Brad Plunkett, a junior electronics engineer, to replace the expensive Jennings 3-position MRB circuit switch with a transistorized solid state MRB circuit.

Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ (an electric solid state transistorized organ) to duplicate the Jennings 3-position circuit. After adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, noticed the sound effect caused by the circuit. Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. John Glennon, an assistant junior electronics engineer with the Thomas Organ Company, was summoned to bring a volume control pedal which was used in the Vox Continental Organ so that the transistorized MRB potentiometer bread-boarded circuit could be installed in the pedal's housing. After the installation, Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc./Thomas Organ Company, to listen to the effect. At this point the first electric guitar was plugged into the prototype wah pedal by guitarist Del Casher who suggested to Joe Banaron that this was a guitar effects pedal rather than a wind instrument effects pedal. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the electric guitar as suggested by Casher. After a remark by Casher to Banaron regarding the Harmon mute style of trumpet playing in the famous recording of "Sugar Blues" from the 1930s, Banaron decided to market the wah-wah pedal using Clyde McCoy's name for endorsement.

After the invention of the wah pedal, the prototype was modified by Casher and Plunkett to better accommodate the harmonic qualities of the electric guitar. However, since Vox had no intention of marketing the wah pedal for electric guitar players, the prototype wah-wah pedal was given to Del Casher for performances at Vox press conferences and film scores for Universal Pictures. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal.

Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, and Brad Plunkett to write and submit the documentation for the wah-wah pedal patent. The patent application was submitted on 24 February 1967, which included technical diagrams of the pedal being connected to a four-stringed "guitar" (as noted from the "Description of the Preferred Embodiment"). Warwick Electronics Inc. was granted U.S. Patent 3,530,224 ("foot-controlled continuously variable preference circuit for musical instruments") on 22 September 1970.

Early versions of the Clyde McCoy featured an image of McCoy on the bottom panel, which soon gave way to only his signature. Thomas Organ then wanted the effect branded as their own for the American market, changing it to Cry Baby which was sold in parallel to the Italian Vox V846. Thomas Organ's failure to trademark the Cry Baby name soon led to the market being flooded with Cry Baby imitations from various parts of the world, including Italy, where all of the original Vox and Cry Babys were made.[3] Jen, who had been responsible for the manufacture of Thomas Organ and Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, Illinois these Italian models continued to be made and are among the more collectible wah pedals today.

Love the sound Knopler got on "money for nothing", interesting technique.
" golden country" by REO (Richrath)
"anesthesia (pulling teeth!" By Cliff in Metallica

lots of great tunes listed

Laterz

@Rusty thx for the Wah 101.

Can't overlook the mindboggling wahwah on "Crimson and Clover".

There's a great Bowie show from 1972 Santa Monica CA that captures the Spiders in full-on glory. Mick Ronson would leave his wah on and depressed to get some extra bite, but he also would use it to great effect on "Width of a Circle."

I got that show as a bootleg but it did eventually come out as an official release. One of my favorite live recordings ever. If you have not heard it, go git it!!!

Here is "Waiting for the Man" from that show:

[Edited on 3/22/2020 by JimSheridan]