Episode 129 of A History of Rock Music in 500 Songs delves into “(I Can’t Get No) Satisfaction” by The Rolling Stones, examining the band’s transformation from a successful beat group into the Beatles’ only true rivals. This “Satisfaction Song” not only solidified their place in music history but also revolutionized rock music itself.
A jukebox, with the words
Before we dissect this iconic “satisfaction song”, it’s crucial to understand the Rolling Stones’ trajectory leading up to its release. Prior to “Satisfaction,” the Stones were navigating the burgeoning British Invasion, finding success with covers and early original tracks, but hadn’t yet unleashed their full potential.
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Early Days and the Quest for Originality
The Rolling Stones’ initial recordings were heavily reliant on covers of American blues and R&B classics. While these covers helped them gain popularity, their manager, Andrew Oldham, recognized the necessity of original material to truly compete with bands like The Beatles. This realization spurred the songwriting partnership of Mick Jagger and Keith Richards.
One of their earliest collaborations, “As Tears Go By,” demonstrated their songwriting potential but was deemed unsuitable for the Stones’ raw image and was instead given to Marianne Faithfull. This period was a crucial learning curve for Jagger and Richards as they honed their craft, experimenting with different styles and themes.
Early original songs like “Tell Me” showcased their Merseybeat influences, but lacked the distinctive edge that would define their later work. Their first album largely consisted of covers from their musical heroes like Bo Diddley and Chuck Berry, demonstrating their deep roots in American blues and R&B.
Despite achieving a number one album in the UK, a significant feat at the time, they still lacked a chart-topping single. Their cover of Buddy Holly’s “Not Fade Away,” infused with a Bo Diddley rhythm and Don Everly’s guitar style, brought them closer to a breakthrough, reaching number three in the UK and becoming their first US chart entry.
The Rolling Stones
Chess Studios and American Influences
A pivotal moment came when the Stones recorded at Chess Studios in Chicago, the legendary home of many of their blues idols. This experience was transformative, immersing them in the authentic atmosphere of blues music and exposing them to multi-track recording technology. Their cover of The Valentinos’ “It’s All Over Now,” recorded at Chess, became their first UK number one single, signifying their growing commercial success and their ability to interpret and adapt American R&B for a British audience.
However, the relentless touring and recording schedule began to take its toll, particularly on Brian Jones. Despite the external success, internal tensions were brewing within the band, setting the stage for the creative and personal conflicts that would coincide with the creation of their “satisfaction song.”
The Birth of “Satisfaction”: A Riff in a Dream
The song that would catapult the Rolling Stones to global superstardom, the “satisfaction song,” “(I Can’t Get No) Satisfaction,” emerged from a late-night inspiration. Keith Richards recounts waking up in the middle of the night with a guitar riff in his head and quickly recording it on a bedside tape recorder before falling back asleep. Upon waking, he’d forgotten the riff but rediscovered it at the beginning of the tape, preceding only the sound of his own snoring.
Initially, Richards worried about unintentional plagiarism, suspecting the riff might be subconsciously derived from “Dancing in the Street.” However, its resemblance to the horn line in Martha and the Vandellas’ “Nowhere to Run” is more striking, sharing a similar rhythmic drive and structure. This highlights how musical inspiration often draws from a tapestry of influences, consciously or unconsciously.
Despite its now-iconic status, the initial recording of “Satisfaction” at Chess Studios was not met with universal enthusiasm, especially from Richards himself. He envisioned the riff as a horn part and felt the acoustic arrangement sounded too folk-rock, lacking the intended punch. This demo-like version almost became the final release, highlighting the often unpredictable nature of hit records.
The Fuzz Tone Revolution: Transforming a Demo into an Anthem
To demonstrate his horn arrangement idea, Richards experimented with his guitar. Ian Stewart suggested using a fuzz pedal, a relatively new effect at the time, to mimic the sound of a horn section. This seemingly simple suggestion proved to be revolutionary.
Contrary to popular myth, “Satisfaction” was not the first recording to employ fuzz tone. Guitarists like Paul Burlison, Grady Martin, and Al Casey had explored fuzz effects earlier, primarily in country and instrumental music. However, “Satisfaction” brought fuzz guitar to the forefront of rock and roll in an unprecedented way, defining the song’s raw and rebellious energy.
The fuzz tone, initially intended as a placeholder, transformed the “satisfaction song” from a folk-rock demo into a snarling rock anthem. While Jagger and Richards initially disliked the fuzz guitar version, the rest of the band, along with Andrew Oldham and Ian Stewart, recognized its hit potential and overruled their reservations. This decision proved to be a turning point, not only for the Rolling Stones but for the sound of rock music itself.
Lyrical Themes: Adolescent Frustration and Social Commentary
Lyrically, “Satisfaction” marked a shift for Mick Jagger towards more socially conscious songwriting, influenced by Bob Dylan. The title itself, “I Can’t Get No Satisfaction,” echoes a line from Chuck Berry’s “Thirty Days” and the sentiment of Muddy Waters’ “I Can’t Be Satisfied,” grounding the song in blues traditions of expressing dissatisfaction and longing.
However, “Satisfaction” transcended its blues roots to become an anthem of adolescent male frustration. The lyrics express a general dissatisfaction with modern life, targeting consumerism (“advertising comes on and tears my insides out”) and sexual frustration (“girl comes on my radio… telling me ’bout my baby'”).
While some critics point to a misogynistic undercurrent in the lyrics, reflecting Jagger’s personal relationships and the blues tradition’s often problematic portrayal of women, the song’s primary resonance lies in its articulation of universal teenage angst and rebellion against societal norms. This raw and relatable lyrical content, combined with the groundbreaking fuzz riff, propelled “Satisfaction” to become a global phenomenon.
Impact and Legacy: Defining a Generation
“(I Can’t Get No) Satisfaction” was released in the summer of 1965 and became an immediate sensation. It topped charts in both the UK and the US, marking the Rolling Stones’ first American number one and solidifying their status as global rock stars. The “satisfaction song” became synonymous with the band and with the rebellious spirit of the 1960s.
The song’s impact extended beyond commercial success. It established the distorted guitar riff as a central element of rock music, influencing countless bands and shaping the genre’s sonic landscape. The raw, fuzzy sound of “Satisfaction” became a defining characteristic of the Rolling Stones’ music and a hallmark of the harder, more rebellious strand of rock and roll that emerged in the mid-1960s.
However, the song’s success was not without its shadows. Brian Jones, a founding member and multi-instrumentalist, reportedly resented “Satisfaction.” His resentment stemmed partly from its departure from the blues purism he initially envisioned for the band and partly from the fact that he may have been excluded from the recording session, or his contributions minimized. This resentment was a symptom of the growing rift within the band and hinted at the darker personal issues that plagued Jones.
A Darker Context: Personal Turmoil and Troubled Times
The episode transcript concludes with a disturbing and sensitive account of Brian Jones’s behavior around the time of “Satisfaction”‘s creation. It alleges an incident of sexual assault and violence committed by Jones, leading to a physical altercation and further isolating him from the rest of the band.
This darker narrative, while difficult to discuss, provides a crucial context to the internal dynamics of the Rolling Stones during their rise to fame. It reveals the complex and often troubled personalities behind the music and underscores the human cost of rock and roll stardom.
While the “satisfaction song” became an anthem of youthful rebellion and cultural change, its creation was intertwined with personal struggles and darker undercurrents within the band. Understanding this full context provides a richer and more nuanced appreciation of the song’s significance and the complex legacy of the Rolling Stones.
Conclusion: More Than Just Satisfaction
“(I Can’t Get No) Satisfaction” is more than just a catchy riff or a chart-topping hit; it’s a cultural artifact that encapsulates a moment in rock history. This “satisfaction song” defined the sound of a generation, cemented the Rolling Stones’ legacy, and continues to resonate with listeners decades later. From its dream-inspired riff to its fuzz-fueled energy and its lyrics of adolescent frustration, “Satisfaction” remains a cornerstone of rock and roll and a testament to the enduring power of a truly iconic song.
Resources
- Margotin, Phillipe, and Jean-Michel Guesden. The Rolling Stones: All The Songs. New York: Abrams, 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. London: Little, Brown, 2007.
- zentgraf.de. “The Complete Works of the Rolling Stones 1962-2023.” Accessed October 26, 2023. https://www.nzentgraf.de/books/tcw/works1.htm
- Singles Collection: The London Years. 3CD Box Set. ABKCO, 1989.
- Mixcloud Streaming Playlist: https://www.mixcloud.com/AndrewHickey/500-songs-supplemental-129-satisfaction/
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