vineri, 7 martie 2008

The Rolling Stones - I Can't Get No Satisfaction

Released in 1965 on the “Out of Our Heads” album, “I can’t get No satisfaction” is a product of Keith Richards’ dreams while staying at the Fort Harrison Hotel in Clearwater, Florida. He woke up with the guitar riff and the name of the song on his mind, he recorded them and then went back to sleep – it seems that besides the riff and the lyric, on the tape there was recorded also his snoring.

Richards was worried that the song resembled Martha and The Vandellas “Dancing in the street” and that the band could be sued. Fortunately this didn’t happen and the song became one of the most famous of all times, ranked for several times #1.

The Stones wanted to release the song first in the US and then, after 3 months in the UK only they could be there to support it. They left their British fans to grow on them more and more in that time so that when they come in the UK, they would receive it strongly.

Richards (1992): "It was the first (fuzztone box) Gibson made. I was screaming for more distortion: This riff's really gotta hang hard and long, and we burnt the amps up and turned the s--t up, and it still wasn't right. And then Ian Stewart went around the corner to Eli Wallach's Music City or something and came around with a distortion box. Try this. It was as off-hand as that. It was just from nowhere. I never got into the thing after that, either. It had a very limited use, but it was just the right time for that song."

Mick Jagger (1995): "People get very blase about their big hit. It was the song that really made the Rolling Stones, changed us from just another band into a huge, monster band. You always need one song. We weren't American, and America was a big thing and we always wanted to make it here. It was very impressive the way that song and the popularity of the band became a worldwide thing. It's a signature tune, really, rather than a great, classic painting, 'cause it's only like one thing - a kind of signature that everyone knows. It has a very catchy title. It has a very catchy guitar riff. It has a great guitar sound, which was original at that time. And it captures a spirit of the times, which is very important in those kinds of songs... Which was alienation. Or it's a bit more than that, maybe, but a kind of sexual alienation. Alienation's not quite the right word, but it's one word that would do."

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