15 Great Songs That Use the Wah-Wah Guitar Pedal & Its Funky, Fluid Feel

Del Casher, a session musician renowned for his collaborations with legends such as Gene Autry and Frank Sinatra, passed away on October 1 at the age of 88. Beyond his work as a performer, Casher’s most enduring contribution to music was inventing the wah-wah pedal, a device that revolutionized electric guitar playing.

The wah-wah pedal introduced a distinctive tone-shifting effect that transformed guitar sounds, making it a staple in numerous genres over decades. Casher showcased the pedal in a 1966 jam session with Frank Zappa and the Mothers of Invention, who in turn presented it to Jimi Hendrix. Hendrix's use of the pedal propelled its recognition, especially with tracks like "Voodoo Child," whose opening wah effect remains one of the most iconic moments in the history of electric guitar.

Following Hendrix, the pedal found favor with many seminal guitarists of the late 1960s and beyond. Eric Clapton integrated it prominently into Cream’s recordings, particularly on "White Room," where the wah-infused solo drives the song to its crescendo. Meanwhile, Jimmy Page used the pedal to evoke eerie atmospheres, notably on Led Zeppelin’s "Dazed and Confused," creating sounds likened to banshee wails that added a haunting layer to the song.

Frank Zappa also exploited the pedal’s versatility extensively on "The Gumbo Variations" from the 1969 album Hot Rats, blending psychedelic textures with wah-driven improvisations. This demonstrated how the pedal could transcend traditional soloing to become an experimental tool in complex compositions.

The wah-wah’s influence extended well beyond rock. Melvin Ragin, known as "Wah Wah Watson," joined the Motown house band and infused the pedal into classic soul recordings. His work on The Temptations tracks brought a juicy, fluid wah into the rhythm sections, reshaping the instrument's role from solo effects to foundational grooves.

Similarly, the pedal is credited with the memorable wah-wah triplet opening Marvin Gaye’s "I Heard It Through the Grapevine," although there is some dispute over whether Motown session man Don Peake or Watson played the part. Regardless, this underlines the pedal’s deep embedding in the Motown sound.

Funk and soul artists also embraced the wah effect, with tracks like The Meters’ "Cissy Strut" and Curtis Mayfield’s "Freddie’s Dead" featuring wah-inflected guitar work that enhanced their rhythmic and danceable grooves. Funkadelic’s "Maggot Brain" stands out as a profound example where guitarist Eddie Hazel used the wah pedal to convey deeply emotional expressions, reportedly inspired by a hallucinatory studio session, stretching the pedal’s capabilities for nearly ten minutes of evocative soloing.

The pedal’s impact spans into heavier rock and metal genres as well. Chicago’s "25 or 6 to 4" features a wah-enhanced solo by Terry Kath that adds a swirling, intense texture. The "Shaft" theme song’s driving wah guitar, played by Charles "Skip" Pitts, contributed to the track’s number one Hot 100 position and an Academy Award for Best Original Song, illustrating the pedal’s role in cinematic music success.

Metallica’s use of the wah in songs like "Enter Sandman," particularly in Kirk Hammett’s solos, highlights its ability to create primal, aggressive tones that complement the band’s heavy sound. Guns N’ Roses’ Slash employed the pedal to iconic effect, especially on "Sweet Child O’ Mine," where it underpins the solo’s lyrical quality with a controlled yet edgy tone.

The grunge era also embraced the pedal’s expressive potential. Alice in Chains’ "Man in the Box" features Jerry Cantrell’s wah-driven riff and solo that contribute to the song’s dark and imposing atmosphere. Similarly, Pearl Jam’s Mike McCready used the pedal to unleash emotionally charged solos, notably on "Daughter" from their album Vs., pushing guitar expression beyond conventional note structures.

Jam bands such as Phish have consistently incorporated the wah pedal into their live performances. Trey Anastasio’s style, particularly on "The Moma Dance," uses the pedal to generate slippery, dance-inducing grooves that engage audiences and showcase the pedal’s rhythmic adaptability beyond soloing.

Casher’s death brings renewed attention to the wah-wah pedal’s remarkable journey from a technical innovation to a defining sonic element across multiple musical landscapes. The pedal’s cross-genre appeal and enduring presence continue to influence guitarists and listeners alike, underscoring the lasting legacy of its creator.

The wah-wah pedal’s evolution illustrates how a single invention can ripple through diverse styles and eras, shaping the sound of modern music. From Hendrix’s psychedelic rock explorations to Motown’s soulful grooves, from metal’s intensity to funk’s dance rhythms, the wah pedal remains a powerful tool in the guitarist’s arsenal.

This enduring relevance also highlights the potential for session musicians and inventors to leave profound marks on music history, often behind the scenes. Casher’s contribution exemplifies how innovation and artistry can converge to create cultural milestones that resonate decades later.