“(I Can’t Get No) Satisfaction” by the Rolling Stones isn’t just a song; it’s a cultural touchstone, an anthem of frustration that defined a generation and cemented the band’s place as rock and roll titans. Episode 129 of our exploration into rock music history delves into how this track propelled the Rolling Stones from a successful British Invasion band to the Beatles’ only true rivals.
The Rolling Stones in 1965, promoting their musical career and rebellious image.
From Covers to Originals: Forging a Unique Sound
In their early days, the Rolling Stones were known for their raw energy and interpretations of American blues and R&B classics. As they navigated the burgeoning British music scene, their manager Andrew Oldham recognized the necessity of original material in a landscape dominated by songwriting powerhouses like Lennon and McCartney. Initially, the band, spearheaded by Brian Jones, leaned heavily on covers. However, Oldham saw the potential in Mick Jagger and Keith Richards, pushing them to become the Stones’ songwriting core, much like the dynamic duo of the Beatles.
The early songwriting efforts of Jagger and Richards were varied. One of their initial compositions, “As Tears Go By,” was deemed unsuitable for the Stones’ edgy image and was instead given to Marianne Faithfull, signaling Jagger’s burgeoning personal connections within the music scene. While the exact authorship of “As Tears Go By” remains debated, the story of Oldham locking Jagger and Richards in a room until they produced a hit underscores the pressure and focus placed on original songs.
Their early original tracks, like “Tell Me,” showcased a Merseybeat influence but lacked the distinctive grit that would define their signature sound. Their debut album largely comprised covers of blues and R&B legends like Chuck Berry and Bo Diddley. While the album topped UK charts, a significant achievement at a time when album sales were less youth-driven, the Stones still sought a breakthrough single that would truly set them apart.
Their cover of Buddy Holly’s “Not Fade Away,” infused with a Bo Diddley rhythm and inspired by Don Everly’s guitar style, provided a stepping stone. This track, along with other covers, often carried a swaggering, overtly masculine tone, reflective of the band’s developing persona. The recording sessions for “Not Fade Away” were reportedly chaotic, involving Phil Spector and Gene Pitney, adding to the lore surrounding the Stones’ early, untamed studio experiences.
A vintage jukebox displaying the logo of a music website, symbolizing the history of rock and roll.
Touring America and Finding Inspiration
The success of “Not Fade Away” in both the UK and, to a lesser extent, the US, paved the way for the Rolling Stones’ first American tour. While their initial US experiences were mixed – including a disastrous TV appearance – they were exposed to the vibrant American music scene. A pivotal moment occurred when DJ Murray the K played them “It’s All Over Now” by the Valentinos. Recognizing its potential, the Stones recorded their own version at Chess Studios in Chicago, a studio steeped in blues history and home to their idols.
Recording at Chess Studios was a transformative experience. The Stones were awestruck to find Muddy Waters, a blues icon, working at the studio. They were also inspired by the presence of other blues legends and the superior recording equipment. Their Chess-recorded version of “It’s All Over Now” became their first UK number one single, although it caused initial controversy with Bobby Womack, the song’s writer.
Upon returning to the UK, the Stones continued a relentless schedule of touring and recording. They even participated in side projects like the Andrew Oldham Orchestra, showcasing their versatility and Oldham’s diverse musical ambitions. Simultaneously, Jagger and Richards honed their songwriting skills, crafting songs for other artists, while also working on material for the Rolling Stones.
“Little Red Rooster,” another UK number one, further cemented their blues roots. Though credited to Willie Dixon, the song drew inspiration from various blues sources, showcasing Brian Jones’s slide guitar prowess. However, the recording of “Little Red Rooster” also highlighted the growing rift within the band, as Jones was intentionally excluded from the initial recording session.
The Birth of “Satisfaction”: A Riff in a Dream
The Rolling Stones’ trajectory shifted dramatically with “The Last Time,” a UK hit that preceded their groundbreaking track. But it was the follow-up, “(I Can’t Get No) Satisfaction,” that catapulted them to superstardom. The genesis of the song is legendary: Keith Richards awoke in the middle of the night with the iconic riff in his head. He quickly recorded it on a nearby tape recorder, along with some snoring, before falling back asleep.
Richards initially worried about plagiarism, suspecting the riff might be subconsciously borrowed from “Dancing in the Street.” However, its resemblance is stronger to the horn line from Martha and the Vandellas’ “Nowhere to Run,” which shares a similar rhythmic drive. Despite the inspiration, “Satisfaction” undeniably forged its own distinct identity.
The initial recording of “Satisfaction” at Chess Studios was acoustic and, according to Richards, underwhelming. He envisioned the riff played by horns, not guitar. Seeking to emulate a horn sound for a demo, Ian Stewart acquired an early fuzz pedal. Richards experimented with the fuzz pedal on his guitar, inadvertently creating a revolutionary sound.
Contrary to popular myth, fuzz tone wasn’t new in 1965. Guitarists had been experimenting with distorted sounds for years, dating back to accidental amp damage and deliberate tube manipulation. Fuzz had even been featured on several recordings by Nashville session musicians and the Wrecking Crew in the early 1960s. However, the fuzz tone on “Satisfaction” was different. It was raw, aggressive, and perfectly captured the song’s frustrated energy, becoming inextricably linked to the track’s identity.
Despite Richards’s initial reservations, the rest of the band, along with Oldham and Stewart, recognized the hit potential of the fuzz-laden version. They overruled Richards, releasing the track with the now-iconic fuzz guitar riff, unknowingly making rock and roll history. Even today, Richards often performs the song live without the fuzz tone, highlighting his original vision for the track.
Lyrics of Adolescent Angst and Social Commentary
Lyrically, “(I Can’t Get No) Satisfaction” marked Mick Jagger’s foray into social commentary, influenced by Bob Dylan. The title itself echoes a line from Chuck Berry’s “Thirty Days” and the sentiment of Muddy Waters’ “I Can’t Be Satisfied,” grounding the song in a blues tradition of dissatisfaction.
The lyrics capture the essence of adolescent male frustration, a universal theme resonating deeply with young audiences. Jagger’s lyrics express a generalized dissatisfaction with consumerism, advertising, and societal expectations, intertwined with sexual frustration. The infamous line about menstruation, while controversial, is a raw expression of adolescent male confusion and impatience.
While some critics have pointed out the lyrical themes as simplistic or even misogynistic, they undeniably tapped into the zeitgeist of teenage angst. Pop music, in its essence, often serves as a medium for adolescent expression, and “Satisfaction” became the ultimate articulation of youthful discontent.
Controversy and Lasting Legacy
“(I Can’t Get No) Satisfaction” became a massive hit, topping charts in both the UK and the US, solidifying the Rolling Stones’ global dominance. However, Brian Jones reportedly resented the song, partly due to its departure from his beloved blues and also because he felt excluded from the recording process. Some accounts suggest he played harmonica, later removed, but most sources indicate Richards played all guitar parts.
The article hints at a darker, disturbing reason for Jones’s absence from the recording session, alluding to his violent behavior and abuse towards women. This disturbing element, though not explicitly detailed in the provided text excerpt, casts a shadow on the band’s history and the context surrounding this pivotal song.
Despite internal tensions and controversies, “(I Can’t Get No) Satisfaction” remains a cornerstone of rock and roll. Its iconic riff, fueled by accidental fuzz, and its lyrics of youthful frustration continue to resonate decades later. The song transformed the Rolling Stones into cultural icons and established the distorted guitar riff as a defining element of rock music. It’s a testament to the power of capturing a raw, universal emotion and packaging it into a three-minute rock and roll explosion.
