Hey Jude Wont Get Fooled Again

This week I will cover some songs that I have avoided because everyone has heard them and then many times but…they are considered some of the best ever…

Meet The New Boss, Same as the Sometime Boss

Equally stone songs go…it doesn't get any better than this one.

This is one of my favorite rock songs of all time. I wrote a review of Who's Adjacent and I included this with it about Won't Get Fooled Again: This is the all-time concert song I've witnessed on film or live in person. It has drama, action, suspense, and assailment… just as much as any picture. Every fellow member of the band is at the top of their game. You lot have Pete's thick power chords, John Entwistle's rolling bass lines, Keith Moon's controlled chaos, and Roger property it down and keeping information technology grounded.

The song is always exciting to hear and out of all the songs in this week'southward posts…this is one I never get tired of…

Roger Daltrey'due south scream is considered one of the best on any stone song. Information technology was quite convincing…so convincing that the rest of the band, lunching nearby, thought Daltrey was brawling with the engineer.

Pete Townshend: "It is not precisely a song that decries revolution – information technology suggests that we will indeed fight in the streets – merely that revolution, like all activity can accept results nosotros cannot predict. Don't expect to run into what you wait to see. Expect nothing and you lot might gain everything." Townsend then goes on to explicate that the song was simply "Meant to let politicians and revolutionaries alike know that what lay in the eye of my life was not for sale, and could not be co-opted into any obvious cause."

The song peaked at #xv in the Billboard 100, #9 in the Great britain, and #seven in Canada in 1971.

Pete Townshend wrote this as function of his "Lifehouse" project. He wanted to release a film about a futuristic globe where the people are enslaved… but saved by a stone concert. Pete couldn't get enough back up to finish the project, but most of the songs he wrote were used on the Who's Next anthology.

From Songfacts

Pete Townshend wrote this song about a revolution. In the beginning verse, there is an insurgence. In the middle, they overthrow those in power, but in the end, the new regime becomes simply like the onetime 1 ("Encounter the new boss, aforementioned as the onetime boss"). Townshend felt revolution was pointless considering whoever takes over is destined to become corrupt. In Townshend: A Career Biography, Pete explained that the song was antiestablishment, but that "revolution is non going to change anything in the long run, and people are going to get hurt."

The synthesizer represents the revolution. It builds at the beginning when the uprising starts, and comes back at the stop when a new revolution is brewing.

The title never appears in the lyric, which goes:

I'll get on my knees and pray
We don't go fooled again

The album version runs 8:xxx. The single was shortened to 3:35 so radio stations would play information technology.

Daltrey was unhappy almost the editing. He recalled to Uncut mag: "I hated information technology when they chopped it down. I used to say 'F–k it, put information technology out as eight minutes', but at that place'd always be some excuse nearly not plumbing fixtures it on or some technical affair at the pressing plant."

"Subsequently that we started to lose involvement in singles considering they'd cut them to $.25," Daltrey added. "We idea, 'What'south the indicate? Our music's evolved past the three-minute barrier and if they can't accommodate that nosotros're just gonna accept to live on albums.'"

In a 1985 "My Generation" radio special, Pete Townshend said he wrote the vocal every bit a message to the supposedly "new breed" of politicians who came around in the early on '70s.

This is the last song on the anthology. It was too the concluding song they played at their concerts for many years.

This was one of the get-go times a synthesizer was used in the rhythm rail. When they played this alive, they had to play the synthesizer part off tape.

Townshend (from Rolling Stone magazine): "It's interesting information technology's been taken up in an anthemic sense when in fact it'due south such a cautionary piece."

Pete Townshend lived on Eel Pie Island in Richmond, London, when he wrote this vocal. In that location was an agile district on the Isle at the time situated in what used to exist a hotel. According to Townshend, this commune was an influence on the song. "At that place was like a love affair going on betwixt me an them," he said. "They dug me because I was like a figurehead in a group, and I dug them because I could see what was going on over there. At ane signal there was an amazing scene where the district was really working, just then the acid started flowing and I got on the end of some psychotic conversations."

The Woodstock festival was an influence on this song. Most songs inspired by Woodstock follow the peace and love narrative, only Pete Townshend had a very unlike take.

The Who played Day ii of Woodstock, going on at the ludicrous hour of 5 a.grand. During their ready, the activist Abbie Hoffman came on stage unannounced and commandeered the microphone. Townshend may or may not have belted him with his guitar, but he certainly did non want to provide a platform for any cause. "I wrote 'Won't Get Fooled Again' equally a reaction to all that – 'Leave me out of it: I don't call back y'all lot would exist whatsoever better than the other lot!,'" he explained to Creem in 1982.

In the same interview, he shared his thoughts on the festival oversupply: "All those hippies wandering almost thinking the world was going to exist different from that twenty-four hours. As a cynical English arsehole I walked through it all and felt like spitting on the lot of them, and shaking them and trying to make them realize that nothing had changed and zilch was going to change."

This vocal was played past the remaining members of the band at "The Concert for New York City," a fundraising concert in the wake of the devastating attacks on September 11, 2001. Daltrey omitted the last line of the song: "Meet the new boss, Aforementioned as the former boss."

Role of this song is used in the opening sequence of the CBS Television receiver series CSI: Miami, which launched in 2002. This was the get-go spin-off from CSI: Offense Scene Investigation, which went on the air in 2000 with "Who Are You?" as the theme vocal. Every subsequent CSI featured a song past The Who: CSI: NY used "Baba O'Riley," and CSI: Cyber went with "I Tin Encounter For Miles."

Roger Daltrey could sing "My Generation" for 5 decades without complaint, but not this one. "That's the only vocal I'm encarmine bored s–tless with," he told Rolling Stone in 2018.

In The Simpsons episode "A Tale of Ii Springfields," Homer forms "New Springfield" and gets The Who to play there. Pete Townshend blasts the wall betwixt onetime and new Springfield by blasting the guitar riff from this song. >>

Pete Townshend refused Michael Moore permission to use this song in his 2004 anti-George Due west. Bush documentary, Fahrenheit nine/xi, citing the left fly filmaker as a "smashing."

This was used in commercials for the 2000 Nissan Maxima. Some people considered this the biggest sellout in rock, just The Who fabricated lots of coin in the bargain. The same year, Nissan used The Who's "Baba O'Reily" in an ad for their Pathfinder.

DJs like to play this as their final vocal before leaving a particular radio station because of the line "come across the new boss, same as the former boss" – a snub directed at station management because they might not be leaving on the friendliest terms.

This was played in Super Basin XLI (2007) as the Indianapolis Colts came out of the locker room. The Colts won the game.

Won't Get Fooled Over again

We'll be fighting in the streets
With our children at our feet
And the morals that they worship volition exist gone
And the men who spurred u.s.a. on
Sit in judgment of all wrong
They determine and the shotgun sings the vocal

I'll tip my hat to the new constitution
Take a bow for the new revolution
Smile and smile at the modify all effectually
Selection up my guitar and play
Merely like yesterday
Then I'll get on my knees and pray
We don't get fooled again

The change, it had to come
Nosotros knew information technology all along
We were liberated from the fold, that'due south all
And the world looks but the aforementioned
And history ain't changed
Crusade the banners, they are flown in the next war

I'll tip my hat to the new constitution
Take a bow for the new revolution
Smile and grin at the modify all effectually
Pick up my guitar and play
Just like yesterday
And so I'll get on my knees and pray
We don't get fooled over again
No, no!

I'll move myself and my family unit aside
If we happen to be left one-half alive
I'll get all my papers and smile at the sky
Though I know that the hypnotized never lie
Do ya?

There's nothing in the streets
Looks any different to me
And the slogans are replaced, past-the-adieu
And the departing on the left
Are now parting on the right
And the beards accept all grown longer overnight

I'll tip my chapeau to the new constitution
Have a bow for the new revolution
Smile and grin at the change all around
Pick up my guitar and play
Simply similar yesterday
So I'll get on my knees and pray
We don't get fooled once more
Don't get fooled again
No, no!

Yeah!

Meet the new dominate
Same as the onetime boss

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Source: https://powerpop.blog/2020/08/24/who-wont-get-fooled-again-epic-rock-songs-week/