| -> | | | | on the track at Mick Jagger's Star Grove residence in |
| The album 'Who's Next' provided fans with some of | | | | England. The biggest change between the original |
| the most cherished songs ever written by the band. | | | | track and that which would emerge from their work at |
| Rising from the smoldering remains of Pete | | | | Stargrove was the decision to again use parts of the |
| Townshend's emotional breakdown and thwarted | | | | synthesizer demo that Townshend had recorded |
| artistic vision, the band was able to cherry pick from | | | | earlier in the year. Juxtaposed with the rising and falling |
| the reams of compositions that Townshend had lying | | | | organ part during the solo break in the middle of the |
| around unused from previous projects. For The Who | | | | song, this new edit would make its way onto the final |
| Won't Get Fooled Again, the epic eight and a half | | | | record. |
| minute track that closed the album, would become | | | | Given the lyrical content of the track, it is unsurprising |
| their anthem, a stunning tour de force that railed | | | | that many political movements and pundits have |
| against the dangers of false revolution. | | | | appropriated the track to represent their particular |
| The Who weren't enamored with the song when they | | | | cause and champion the overthrow of the status quo. |
| first laid it down in 1971. Originally recorded in New | | | | According to The Who Won't Get Fooled Again |
| York, the band felt that the track could stand some | | | | partially represented their backlash against the |
| revision, and so they employed the services of the | | | | pressure they felt from radical revolutionaries to give |
| Rolling Stones Mobile Studio, a great recording studio | | | | their music over entirely to whatever movement |
| on wheels that was popular amongst bands of the | | | | happened to come calling. The lyrics had their root in |
| day who wanted to record their albums in off the wall | | | | the plot of Townshend's failed 'Lifehouse' rock opera, |
| places. These usually ended up being enormous, | | | | in which the villain attempts to convince the hero that |
| empty mansions isolated from fans and possessing | | | | they are almost the same people - to which the hero |
| unique acoustic properties. In the case of The Who, | | | | sings this stunning rebuttal. |
| they kept the Mobile Studio close to home and worked | | | | |