Some considered this reinvention of one of rock’s most iconic songs to be everything from irony to blasphemy, but Martin Scorcese, an authority on the Stones, loved it enough to use it to great effect in a pivotal moment in his 1995 movie Casino. In the process, they changed it from sneering rock n’ roll to an angular nerd-pop song. True to their name (a shortening of “de-evolution”), they deconstructed the tune - stripping it to its barest elements - and put it back together. While Redding’s cover could be seen as a full realization of Richards’ vision for “Satisfaction,” Devo took a radically different approach in 1977. The Stones were so taken with his interpretation that, to this day, Jagger sings “ I can’t get me no,” as Redding did on the chorus, instead of “ I can’t get no.” The horns Richards originally wanted for the riff appeared, and Redding improvised the second verse and ignored the third. and the MGs recording his own version for his groundbreaking Otis Blue/Otis Redding Sings Soul album. 1 single, Otis Redding was in Memphis with Booker T. It topped the Billboard Hot 100 chart for four weeks in July and August 1965.Īt the very moment “(I Can’t Get No) Satisfaction” was the Rolling Stones’ first No. for the use of a double negative in the title). It caused no small degree of controversy with its sexually suggestive third verse (and most likely frustrated English teachers in the U.S. Less than a month later, on June 6, "Satisfaction" was released as a single. Richards may have wanted to overdub horns, but Oldham thought it was perfect as it was. Listen to Otis Redding Sing ‘(I Can’t Get No) Satisfaction’
And that one was a fashionable one at that time.” You know, a lot of pop songs, as you call them, they're based around a rhythm that's become fashionable – you know, disco, something. Drummer Charlie Watts added a bit more muscle by copping a drum part from the pop charts.Īs he told NPR, “I don't know if ' Pretty Woman’ was before this and there's another one that Stevie Wonder did that had that sort of beat in it. But the fuzz tone had never been heard before anywhere, and that’s the sound that caught everybody’s imagination.”īut it wasn’t just the guitar tone that changed in the new arrangement. The fuzz tone came in handy so I could give a shape to what the horns were supposed to do.
“But we didn’t have any horns, and I was only going to lay down a dub. “I was imagining horns, trying to imitate their sound to put on the track later when we recorded,” Richards wrote in his autobiography, Life. They tried again on May 12 at RCA Studios in Hollywood and found magic with the help of Richards’ recently acquired Gibson Maestro Fuzz-Tone pedal. But all the session yielded was an acoustic version that was almost country in its style. Four days later in Chicago’s Chess Studios, they tried to recapture the magic of the previous year that resulted in the 5 X 5 EP.
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