Instrumentals: "Won`t Get Fooled Again"

A Presentation by
Aurelio Dregni, Chelsey Hancock, Jake Kelly, Nathan Severiano, & Yi
Zhang
The Who
The Who is known for their powerful,
energetic and individual personalities
that were fused together and produced
R&B albums with rock operas and classic
rock tracks. Each their own, the member’s remarkable talents
were expressed in their music with passion and wit during their
prime of the late ‘60s to the early ‘80s.
Because The Who had one of the strongest and most
unconventional rhythm sections in rock history , we felt intrigued
to examine their musical dynamics of concise, classic singles and
the ambitious concept albums they are remembered for.
How Good was The Who?
As one columnist puts it: "They were arguably the most divisive anarchic
yet fiercely committed band in rock history, and they didn't just
command attention, they demanded it. They were individually brilliant
young musicians blending into such a perfect gestalt of mind and music
whose power, rage and compassion was both anguish and sheer
unadulterated delight."
Starting in 1964, they came on as
equipment smashing Mods
who brashly declared their anthem
to modern culture in their song,
My Generation, by saying,
"Hope I die before I get old."
The Who?
The Who began in 1964 with singer Roger
Daltrey, guitarist and songwriter Pete
Townshed, bassist John Entwistle and
drummer Keith Moon. Daltrey, Townshed,
and Entwistle had recently been in a
London based band the Detours, but when
they replaced their drummer with the
enigmatic Keith Moon, they rebranded
themselves "The Who", to some extent to
confuse and interest those that heard about
them by word of mouth. This is said to have
worked very well on posters.
They began with a few hit singles, "I Can't Explain", "My Generation", and "The Kids
are Alright", leading to their first album, "My Generation" in 1965. Unlike the
Beatles, or the Stones, the Who's first albums contained few covers: they were
almost entirely original songs written by Townshed.
Theatrics
In 1964, during a gig at the Railway Hotel, Pete
Townshed smashed his guitar against the
ceiling while he made a flying leap. In
frustration, he proceeded to completely destroy
his guitar on stage, while it was still plugged
into the amp, for a previously unheard sound.
What began as an accident eventually became
one of their signatures, with Pete smashing his
guitars, Moon destroying his drum sets, and
Daltrey spinning his microphone to the extent
that it even hit the stage.
They also did this at Woodstock, but Jimi Hendrix
who followed them immediately afterward did
the same, and even lit his guitar on fire. Those
who saw this explained how while the Who
destroyed their instruments in anger and out of
angst, Hendrix seemed to almost be worshiping
his guitar.
The Late '60s
In 1967, the who achieved their first U.S. top 40
album, with Happy Jack (A Quick One in
Europe). It and their next, The Who Sell Out
helped bridge the gap from England to the U.S.
These albums further showed that Townsend
could write amazing singles, but he wanted
more.
Their next album, Tommy, was the first Rock Opera.
All of the songs were connected by a story, with
underlying themes and images running
throughout, vastly different from the compilations
of hits they had done before. Their next album in
1971 was going to be a rock opera, but due to
the stress of threading a story through a whole
album, it was abandoned. Though it never came
to fruition, it left us with some of what is widely
considered the Who's best work, which was put
into their 1971 album, Who's Next.
The '70s and beyond
The Who continued to produce albums in the '70s though they were beginning to
go their separate ways with solo careers. Their work in the 70s culminated with
Who Are You in 1978, which reached the #2 spot on the U.S. charts.
On September 7th, 1978, three weeks after the release of Who Are You, Keith
Moon was found dead in his apartment from a drug overdose. The remaining
members debated continuing, and later said that they felt that the Who died
with him.
They released two new albums in the 80's, with many songs influenced by Punk
and New Wave, genres which they had inspired.
The Who continued touring off and on ever since. Entwistle died in 2002, while the
Who were doing a reunion tour.
In 2006, the remaining members released Endless Wire, a completely new album,
to critical acclaim, their first completely original work in 28 years.
The Who were inducted to the rock and roll hall of fame in 1990, the first year they
were eligible.
Musical Style:
Key Stylistic Elements
Roger Daltrey: Delivered the groups vocals with a strong
muscularity and expressive passion.
Peter Townshend: Provided "slashing" guitar sounds and
energetic melodies and accompaniments.
John Entwistle: Gave the "anchor to the ship," creating
streaming basslines. (Very musically adept).
Keith Moon: Often referred to as one of the best drummers
of his time. He exploded with energy and passion to
deliver the songs rhythm and beats.
Musical Style:
Key Stylistic Elements
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The Rock and Roll Hall of Fame describes
the musical style of the Who as the following:
"The Who have distilled the pent-up energy
and chaos of Rock and Roll into its purest
form, while investing their songs with lyrical
depth and visionary insight."
Townshend's abilities on the guitar to create
streaming rhythmic melodies, provided the
foundation for Moon and Entwistle to
showcase their talents.
Together Entwistle and Moon created a
strong yet unconventional rhythmic sections
in Rock and Roll; they would provide the
heart pumping bass lines and melodic drum
fills.
Musical Style:
Where They Fit In
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The image of the mod subculture
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The Who adopted the symbol of the
mod subculture for their band's logo.
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The Who didn't make it big until the late 1960's and
are considered to be one of the keystone groups that
formed a part of the first British Invasion wave to hit
the United States.
Their musical style is more identifiable with the
Rolling Stones (As apposed to the Beatles), but they
represented their newly adopted image of the 1960's
mod movement.
The mod (short for modernist) movement is a
subculture that originated in London during the early
1960's. Typical characteristics included anything
that was popular or moderne during the time. e.g.
tailored suits, British beat music, R&B, motor
scooters, etc.
What set them apart from the other groups of their
time was that The Who based their rhythm on
Townshend's guitar, which allowed for Entwistle's
bass lines, and Moons beats to be changed and
improvised.
Their songs are said to have "exploded the
conventional rock and R&B compositional
structures" to create their iconic musical energy.
Musical Style:
Stylistic Performance
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The Who were well known for their energetic
performances, and were often times considered
to be quite theatrical.
Their "bad-boy" and "anti-establishment" image
was mostly pure accidental. Out of frustration of
a broken guitar neck, Townshend proceeded to
smash his guitar on stage, and Moon quickly
followed suit and decided to do some damage to
his drum set.
Due to the reaction of the crowd, they decided to
keep up with this behavior, and make it a
permanent part of their image.
Apart from wreaking havoc on their
instruments,Townshend would display
theatricality by playing the guitar with his iconic
circular-windmill motions, Daltrey would swing
his microphone around while strutting around the
stage, Moon would be beating all over his drum
set in a blur, and Entwistle would anchor them all
by standing stoically in place. (The anchor to the
already violently rocking boat).
Musical Style:
Importance in the History of Rock n' Roll
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The Who (specifically Townshend) created
the first successful rock opera: Tommy
(1969)
What is a rock opera?
- It is a work of rock music that presents a
storyline told over a succession of multiple
parts, songs, or sections, like that of an
opera.
Tommy (1969) tells the story of a deaf, blind,
and dumb boy that turns into a pinball champ
- pop idol turned autocratic messianic.
o  Top song to come out of this release:
"Pinball Wizard"
The who were also one of the first rock
groups to successfully integrate the
synthesizer into their music.
First experiments with the synthesizer
include the following tracks: "Baba O'Riley,"
"Bargain," and "Won't Get Fooled Again."
Musical Analysis:
"Won't Get Fooled Again"
Background:
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By the time they recorded the album Who's Next in 1971, the Who were among the top
bands in rock. «Won't Get Fooled Again,» one of the tracks from the album, is notable
for its extensive use of the ARP synthesizer.
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Focus on Instrumentation, Meter, Beat subdivision, Texture and Form
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Won't get fooled again
Meter and Subdivision:
"Won't Get Fooled Again"
The tempo and meter are maintained
throughout the entire eight and a half
minutes of the song.
Won't Get Fooled Again uses a moderately
fast tempo, with quadruple meter. The
synthesizer plays the chords twice each
beat for a duple subdivision, while the drums
and guitar often play 16th notes, for a
quadruple subdivision.
Instrumentals:
"Won't Get Fooled Again"
Instrumentals (and the role they play in the song):
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"Won't Get Fooled Again uses the following instruments: The electric guitar, the bass guitar, the drum
set, and also the synthesizer. The synthesizer is what gives the iconic opening melody and
accompaniment.
Intro (0:01-0:51): The song opens with the synthesizer and a strong strum from the electric guitar.
The synthesizer then continues to carry out the melody and the drums and guitar are added to the
mix, followed by the vocals and bass guitar.
Vocals (0:52-2:49)
Instrumental Break 1 (2:50-3:25): Here the electric guitar forms the rhythmic structure and
foundation for the bassline and the drum's melodic fill-ins. The synthesizer is still in the background
adding accompaniment.
Vocals (2:26-3:38)
Instrumental Break 2A (3:39-4:26): Here the Drums take on the task of carrying the rhythmic
foundation while the bass carries the bassline. This leaves the electric guitar to take the lead with a
new melody that is a lot more notable and stronger. The synthesizer then starts to become stronger
as well, accompanying the guitar.
Instrumental Transition (4:26-4:36): The instrumentals then return to the role they played in the
Introduction and then carries into the vocals.
Instrumentals Cont.:
"Won't Get Fooled Again"
Instrumentals Continued:
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Vocals (4:37-5:37)
Instrumental Break 2B (5:38-7:52): This instrumental break begins by following the
instrumental roles in instrumental break 2A. The instruments then carry out and transition into
the roles they played from the Introduction, the only difference is the emphasis on the drums
(solo given) right before leading into the final phase of vocals.
Vocals (7:53-7:59)
Instrumental Break 3/ Ending (8:00-8:33): This instrumental break follows the same role as
instrumental break 1, then transitions into the ending. Here all four instruments (electric guitar,
bass guitar, drum set, and synthesizer) play their notes on the first beat of each measure until
the last measure where the notes are held out til they fade to nothing.
Form:
"Won't Get Fooled Again"
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Form :
The form of "Won't Get Fooled Again” is verse-chorus form
Intro (0:01-0:51):
Verse/ chorus(0:52)
We'll be fighting in the streets With our children at our feet And the morals that they worship will be
gone
(Bridge [1:13]) I’ll tip my hat to the new constitution Take a bow for the new revolution Smile and
grin at the change all around Pick up my guitar and play Just like yesterday Then I'll get on my knees
and pray
(Hook[1:38]) we don’t get fooled again
Verse/ chorus 2(1:53):
The change, it had to come We knew it all along We were liberated from the fold, that's all
Instrumental (2:57)
contrasting section(3:24)
I’ll move myself and my family aside If we happen to be left half alive I'll get all my papers and smile
at the sky Though I know that the hypnotized never lie
Verse/chorus 3 (4:38)
There is nothing in the street Looks any different to me And the slogans are replaced, by-the-bye
And the parting on the left Are now parting on the right And the beards have all grown longer overnight
Instumental (5:44)
Outro (7:51)
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Texture Analysis:
"Won't Get Fooled Again"
The texture throughout the song is very dynamic and ultra creative on The Who's part. It is through
the different instruments and interesting beats that make it dynamic.
Up to 0:36 sec., it has a monophonic texture style instrumentally; just the keyboard, for a very thin texture.
0:37 sec., It has a Polyphonic, non-limitative texture with the electric guitar being strummed or "bashed on"
loudly and significantly (unlike the overall melody). The drums have a consistent, fast beat of the loud taps
every second, unlike the overall melody nor the guitar as well. Very thick texture.
0:44 sec. The song's melody starts for to the homophonic texture of melody and accompaniment like we
are used to; with the keyboard, electric guitar, and drums; one vocal chord, all following rhythmically. Thick
texture.
1:14 - 1:36 Homophonic chordal..Both vocals are singing on the same pitch and following course with the
accompanying instruments. This is what we hear for the chorus; each time throughout the song. They are
singing the same melodoic line. Moderately thick texture.
1:42 - back to the Homophonic Texture; melody and accompaniment style for the accompanying verses
throughout the song, and then for the guitar solo accompanied by the keyboard. Moderately thick texture.
6:35 - The instrumentals change to a monophonic texture. There are no more drums nor electric guitar; the
keyboard only. Once again, a very thin texture.
Texture Analysis:
"Won't Get Fooled Again"
7:31 - Homophonic texture at this point of the song; it just adds drums to the keyboard.
7:45 - Still the homophonic M&A texture, but the guitar is now incorporated for the instrumentals as well as the
vocals with a loud, shouting, inspirational, "YAAA!." Moderately thick texture.
7:53 - Vocalist, "Meet the new boss."
7:56 - Both monophonic vocalists, "Same as the old boss",
Still homophonic M&A.
8:33 - the marking of the end of the song; finishing off in
instrumental, polyphonic nonimitative texture.
Those two lines were the last of the lyrics...interesting, huh!?
The texture of this song is so awesome, so much character
and spirit. It is truly dynamic and an original in its own.
Influence On The Who
Pete Townshend cites John Lee Hooker, Bo Diddley, Hank Marvin, Link Wray, Mose Allison,
Ray Charles, and Jimmy Smith as early musical influences. He also has identified Henry Purcell as
important to his composing."As a matter of fact, Who leader Pete Townshend has frequently
credited the first-wave British Invasion band the Kinks with being his initial influence for composing
"I Can't Explain," while "The Kids Are Alright" would be unthinkable without the influence of the
Beatles and their Merseybeat sound"
John lee Hooker
Hark Marvin
Bo Didley
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Other Music of the Period
-After experimenting with many styles
in the early 60s, "The Who" formed an
ultimate identity as an R&B influenced
pop rock group in Great Britain.
- The Who were most directly involved
in the "British invasion of the 1960s"
-The arrival of the Beatles in the
United States on February 7,
1964 opened the door for a flurry
of British rock bands coming to
the United States.
The Beatles arriving in America
(britishinvasionbands.com)
-The Who were in the second wave of
British bands to emerge in the United
States, making their first appearance
on the American Charts in 1967.
More on the British Invasion
-The bands of the British invasion were primarily
influenced by early American rock & roll and blues
musicians.
-This led to a blend of American and British
styles of the time, ultimately resulting in a pop
rock hybrid.
-Bands made a point to form an identity,
which led to experimentation and new
sounds.
-The Who most closely and successfully
represented the British "Mod" subculture, which
represented "modernism" in British culture through
music, clothing, and rebellious teenage lifestyle.
-The Who considered themselves "maximum
rhythym and blues, and "power pop."
The Shape of Musical Culture When Coming to America
-Many British acts had already successfully crossed over and made an impact by the time The Who arrived in
America (most notably: The Beatles, Rolling Stones.)
-The success of Euro Rock bands was great in the United States. This new brand of music ultimately helped
lead to the demise of instrumental surf music, and helped evolve the revival of folk music into folk rock.
-The band played alongside emerging acts like the Jimi Hendrix Experience and The Doors on tour, as well as
playing at the legendary Woodstock festival in 1969.
-Woodstock helped cement The Who as the one of the hottest live music tickets in America, next to only the
Rolling Stones.
-Musicians from Elvis to Chubby Checker saw their music take a backseat to that of the British Invasion, and
the sound was ultimately adopted by upcoming American garage rock bands that helped shape American
Rock music for decades to come.
Legacy
The Who have been releasing albums for almost half a century, and have inspired
many branches of rock unlike anything that came before.
They will be remembered for their development of the rock opera, their crazy stage
antics, their unique rhythm section, and the invention of the power trio.
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