Episode 129 of A History of Rock Music in 500 Songs delves into the iconic track “(I Can’t Get No) Satisfaction” by The Rolling Stones, exploring its pivotal role in transforming the band from a successful British beat group into formidable rivals to The Beatles and defining the sound of rock music itself. This song, driven by a groundbreaking guitar riff, captured the zeitgeist of youthful discontent and solidified the Stones’ rebellious image.
A jukebox, with the words
Emerging from the burgeoning British music scene of the early 1960s, The Rolling Stones initially gained traction with covers of American blues and R&B classics. However, under the guidance of their manager Andrew Oldham, the band recognized the necessity of creating original material to sustain their success in a landscape increasingly dominated by self-sufficient bands like The Beatles. This realization spurred the songwriting partnership of Mick Jagger and Keith Richards, a collaboration that would ultimately define the band’s signature sound and lyrical themes.
In their nascent songwriting days, Jagger and Richards experimented with various styles, even penning tracks for other artists. One early example, “As Tears Go By,” initially deemed unsuitable for the Stones’ raw, blues-infused style, found success as a ballad for Marianne Faithfull. This period of experimentation, often under Oldham’s somewhat unconventional methods (famously locking Jagger and Richards in a room until they produced a song), proved crucial in honing their songwriting craft and pushing them beyond mere imitation.
The Rolling Stones
Early singles like “I Wanna Be Your Man,” penned by Lennon and McCartney, and covers like Buddy Holly’s “Not Fade Away,” while commercially successful, still positioned the Stones within the broader context of the British Invasion, rather than as distinct innovators. Their debut album, largely comprised of covers, topped the UK charts, highlighting their popularity but not yet their unique artistic identity. The need for a signature sound and original hit material was becoming increasingly apparent.
The Stones’ musical influences during this period were deeply rooted in American blues and R&B. They drew inspiration from artists like Bo Diddley, Chuck Berry, and the Everly Brothers. Their cover of “Not Fade Away,” for instance, showcased Keith Richards’s evolving guitar style, influenced by Don Everly’s rhythm guitar playing and Bo Diddley’s signature beat. This fusion of influences was gradually shaping their distinctive sound, moving beyond mere imitation towards something new and exciting.
A pivotal moment in their evolution occurred during their first US tour. Exposure to American music firsthand, including a transformative James Brown performance at the Apollo, and the recording experience at Chess Studios in Chicago, profoundly impacted the band. Working in the legendary studio where many of their blues idols had recorded, and even encountering Muddy Waters himself, immersed them in the authentic atmosphere of their musical roots. This experience, coupled with access to better recording technology in American studios, shifted their recording focus westward.
Their first UK number one single, “It’s All Over Now,” a cover of The Valentinos, marked a commercial breakthrough and demonstrated their ability to interpret and popularize American R&B for a wider audience. However, it was with “Little Red Rooster,” another UK chart-topper, that showcased their growing confidence in tackling blues classics and imbuing them with their own swagger. Despite the success, internal tensions were brewing, particularly with Brian Jones, whose initial leadership role was diminishing as Jagger and Richards’ songwriting partnership flourished.
The release of “The Last Time” as a single, and its B-side “Play With Fire,” hinted at a darker, more cynical lyrical direction, often attributed to Jagger’s personal experiences and a developing misogynistic streak in their songwriting. These songs, while commercially successful, were precursors to the raw frustration and social commentary that would fully explode with “Satisfaction.”
The Birth of a Riff and an Anthem
“(I Can’t Get No) Satisfaction” emerged from a legendary dream Keith Richards had one night in a Florida hotel room. Awakening in the middle of the night with a riff in his head, he instinctively grabbed a nearby tape recorder and captured the nascent idea before drifting back to sleep. Upon waking, he had forgotten the melody, but the tape revealed the now-iconic riff followed by minutes of snoring.
Initially, Richards was unsure of the riff’s originality, suspecting it might be subconsciously borrowed from another song. He later cited Martha and the Vandellas’ “Dancing in the Street” as a possible inspiration, but the resemblance is arguably stronger to their track “Nowhere to Run,” particularly its driving rhythm and horn line. The similarity is evident when comparing the riff of “Satisfaction” to the chorus of “Nowhere to Run,” highlighting the subtle but significant influence.
The initial recording of “Satisfaction” at Chess Studios was far from the final, electrifying version. Conceived as more acoustic and folk-rock oriented, it failed to excite Richards, who envisioned the riff as a horn section melody, akin to what Otis Redding would later achieve in his cover. It was during subsequent sessions in Los Angeles, with Jack Nitzsche on board, that the song underwent its transformative change.
To approximate the horn sound he envisioned, Richards experimented with a fuzz pedal, one of the first commercially available at the time. Despite common misconceptions, fuzz-toned guitars were not entirely new in 1965. Pioneering uses can be traced back to accidental amplifier damage in the early days of rock and roll and deliberate experimentation in country and instrumental music. By 1965, fuzz was even considered somewhat passé in certain music circles, having been popularized by session musicians in Nashville and Los Angeles years prior.
However, for Richards and “Satisfaction,” the fuzz pedal was a revelation. Initially intended as a temporary placeholder for a horn arrangement, the distorted, buzzing guitar tone unexpectedly became the defining feature of the song. Despite Richards’s initial reservations about the fuzz guitar and the overall recording, the rest of the band, along with Ian Stewart and Andrew Oldham, recognized the song’s raw power and potential as a hit. They overruled Richards and insisted on releasing the version with the fuzz riff, a decision that would indelibly alter the course of rock history.
Lyrical Frustration and Adolescent Angst
Lyrically, “(I Can’t Get No) Satisfaction” marked a significant step towards social commentary for Mick Jagger, drawing inspiration from Bob Dylan’s songwriting and reflecting a growing sense of societal unease. The title itself, with its double negative, echoes a line from Chuck Berry’s “Thirty Days,” while the underlying sentiment of dissatisfaction resonates with Muddy Waters’ blues classic “I Can’t Be Satisfied.”
The song perfectly encapsulated the burgeoning adolescent frustration of the mid-1960s. Jagger’s lyrics express a pervasive sense of discontent with consumerism, advertising, and societal expectations, interwoven with raw sexual frustration. The lines about radio advertising and the infamous verse about a woman on her period, while controversial, contributed to the song’s rebellious and provocative edge.
“(I Can’t Get No) Satisfaction” became an anthem for a generation grappling with societal changes and seeking a voice for their burgeoning disillusionment. Its raw, unapologetic expression of frustration resonated deeply with teenagers worldwide, solidifying the Rolling Stones’ image as rebellious outsiders and solidifying their position as a cultural force. The song’s lyrical content, while criticized for its misogynistic undertones, undeniably tapped into the anxieties and frustrations of youth culture at the time.
Impact and Legacy
“(I Can’t Get No) Satisfaction” propelled The Rolling Stones to unprecedented levels of fame. It became their first number one hit in the United States and topped charts globally, cementing their status as serious contenders to The Beatles’ dominance. The song’s iconic riff, raw energy, and rebellious lyrics defined a new era in rock music, paving the way for harder, more guitar-driven sounds.
However, the song’s success was not without its shadows. Brian Jones, already feeling marginalized within the band, reportedly resented “Satisfaction.” His displeasure stemmed partly from its departure from the blues purism he initially championed, but also from the fact that he was largely absent from the recording. Accounts vary, but most sources indicate Jones’s minimal contribution to the track, with Keith Richards handling most of the guitar work.
The reasons for Jones’s absence are disturbing and reveal a darker side to the band’s history. On the same day Jagger and Richards finalized “Satisfaction,” an incident occurred in Florida involving Jones and a young woman that exposed his violent and abusive behavior. According to accounts, Jones raped and physically assaulted a woman, causing severe injuries. This horrific act horrified even his bandmates, leading to a confrontation and physical retaliation against Jones by their roadie. Consequently, Jones was allegedly in no condition to fully participate in the recording sessions for “Satisfaction” due to injuries sustained and pain medication.
This incident marked a turning point in the band’s dynamic. Jones, once the charismatic leader, became increasingly isolated and disliked by his bandmates. “(I Can’t Get No) Satisfaction,” despite its monumental success, became a symbol of this internal rift and the darker undercurrents within the Rolling Stones’ story.
Despite the controversies and internal tensions, “(I Can’t Get No) Satisfaction” remains a cornerstone of rock music history. Its pioneering use of fuzz guitar, its raw lyrical expression of frustration, and its undeniable energy continue to inspire musicians and resonate with audiences decades later. The song stands as a testament to the Rolling Stones’ transformative power and their ability to capture the spirit of a generation yearning for change and expressing their dissatisfaction with the status quo.
Resources
Margotin, Phillipe, and Jean-Michel Guesden. The Rolling Stones: All The Songs. New York: Black Dog & Leventhal Publishers, 2016.
Davis, Stephen. Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones. New York: Broadway Books, 2001.
Oldham, Andrew Loog. Stoned: A Memoir of the Rolling Stones. New York: St. Martin’s Griffin, 2000.
Richards, Keith. Life. New York: Little, Brown and Company, 2010.
Trynka, Paul. Sympathy for the Devil: The Birth of the Rolling Stones and the Death of Brian Jones. New York: Little, Brown and Company, 2007.
nzentgraf.de/books/tcw/works1.htm
https://amzn.to/3ms7Ssl (Three-CD set of Rolling Stones singles up to 1971)
Mixcloud streaming playlist with full versions of all songs in the episode.
