Πέμπτη 31 Αυγούστου 2023
Τετάρτη 30 Αυγούστου 2023
CATCH O’ THE DAY! Way back in 1983 - right on 40 years ago - esteemed film guy Jonathan Demme hit up NYC new wave gurus Talking Heads to film one of their amazing live sets to preserve on film for posterity, the results of this union surfacing in 1984 on the incredible concert film ‘Stop Making Sense’, considered by most pundits to be one of the greatest ever examples of the form. Now to celebrate the anniversary the restored film is not only getting a new theatrical run but the whole soundtrack has been pressed onto 2-LP vinyl for the first ever time, the limited edition remastered reissue including two previously-unreleased songs as well as a 28-page booklet with previously unpublished photos along with new liner notes from all four band members! You know it makes sense people! #catchotheday #talkingheads #stopmakingsense #vinylreissue #40thanniversary #2lp #remastered #newsongs #80slegends #sonicsherpa
Τρίτη 29 Αυγούστου 2023
ON THIS DATE (34 YEARS AGO) August 29, 1989 - The Rolling Stones: Steel Wheels is released. # ALL THINGS MUSIC PLUS+ 4/5 # Allmusic 3/5 # Rolling Stone (see original review below) Steel Wheels is the 19th British and 21st American studio album by The Rolling Stones, released on August 29, 1989. It reached #3 on the Billboard 200 Top Albums chart and #2 on the UK Albums chart. It features the single "Mixed Emotions", a partially biographical reference to Jagger and Richards' recent woes that proved to be a major hit single in the US, reaching #5 on the Billboard Hot 100. The whole album was a joyous feeling, it was "This is the time to do it". Keith Heralded as a major comeback upon its release, the project is notable for the patching up of Mick Jagger and Keith Richards' relationship, a reversion to a more classic style of music and the launching of the band's biggest world tour at the time. It is also long-time bassist Bill Wyman's final studio album with the Rolling Stones, preceding the announcement of his departure in January 1993. Following the release of 1986's Dirty Work and Jagger's active pursuit of a solo career, relations between him and the Stones-committed Richards worsened considerably. While Jagger released the tepidly received Primitive Cool in 1987, Richards recorded Talk Is Cheap, his solo debut, which would be released in 1988 to rave reviews. The two years largely apart appeared to have healed the wounds sufficiently to begin resurrecting their partnership and their band. Meeting in January 1989, just preceding the Stones' induction into the Rock and Roll Hall of Fame, the chemistry between Jagger and Richards easily outshone whatever differences they had and after composing some 50 songs in a matter of weeks, Ronnie Wood, Wyman and Charlie Watts were called in to begin recording what would become Steel Wheels, beckoning Undercover co-producer Chris Kimsey to perform the same role. Recording in Montserrat and London during the spring months, Steel Wheels was designed to emulate a classic Rolling Stones sound. The one notable exception was "Continental Drift," an Eastern-flavored piece, with The Master Musicians of Jajouka led by Bachir Attar, recorded in June 1989 in Tangier, coordinated by Cherie Nutting. With much of the past disagreements behind them, sessions for Steel Wheels were fairly harmonious. __________ ORIGINAL ROLLING STONE REVIEW Nothing reinvigorates Sixties icons like having something to prove. In the past few years the reverence typically shown both the Rolling Stones and Bob Dylan has worn perilously thin. The Stones' last two albums, Undercover and Dirty Work – not to mention Mick Jagger's solo recordings – ranged from bad to ordinary, and Keith Richards's bitter public baiting of Jagger suggested that this particular twain might never again productively meet. In Dylan's case, the most obvious message conveyed by the shoddy, almost willfully unfocused nature of his recent work – specifically Knocked Out Loaded and Down in the Groove – was that he had simply stopped caring about making records. Now, in the summit of love of the past, the Stones and Dylan have weighed in with albums that signal renewed conviction and reactivated sense of purpose. Steel Wheels rocks with a fervor that renders the Stones' North American tour an enticing prospect indeed, while Oh Mercy explores moral concerns and matters of the heart with a depth and seriousness Dylan has not demonstrated since Desire. Deep-sixing nostalgia, the Stones and Dylan have made vital albums of, for and about their time. It's not hard to read "Mixed Emotions," the most assured Stones single since "Start Me Up," as Jagger's measured, characteristically pragmatic – and guardedly conciliatory – reply to the verbal pounding he took in the round of interviews Richards gave after the guitarist released his solo album, Talk Is Cheap, last year. "Button your lip baby," counsels Jagger over a swinging guitar groove in the song's opening line, before offering to "bury the hatchet/Wipe out the past." In a bid for some understanding from his band mate, Jagger sings, "You're not the only one/With mixed emotions/You're not the only one/That's feeling lonesome." The feral rocker "Hold On to Your Hat" seems to sketch some of the problems of excess that threatened to drive Jagger out of the Stones. "We'll never make it," Jagger sings angrily, as Richards unleashes a flamethrower riff. "Don't you fake it/You're getting loaded/I'm getting goaded." Never to be outdone, Richards ends the album on a lovely, elegiac note with his ballad "Slipping Away," about his own brand of mixed emotions. "All I want is ecstasy/But I ain't getting much/Just getting off on misery," the Glimmer Twins harmonize on the song's chorus, and then Richards returns to sing the concluding verse. "Well it's just another song," he sings. "But it's slipping away." Jagger's and Richards's conflicting emotions fuel full-tilt rock & roll on "Sad Sad Sad" and "Rock and a Hard Place," while "Continental Drift," with its north-African feel, and the elegant "Blinded by Love" extend the Stones' musical reach further than it has gone in some time. Jagger miraculously avoids camp posturing in his singing, and the rest of the band – Richards, Ron Wood, Bill Wyman and Charlie Watts, augmented by keyboardists Chuck Leavell and Matt Clifford, a horn section and backup singers – plays with an ensemble flair more redolent of the stage than the studio. Jagger, Richards and their coproducer, Chris Kimsey, strike an appropriate balance between upto-date recording sheen and the Stones' inspired sloppiness. All the ambivalence, recriminations, attempted rapprochement and psychological one-upmanship evident on Steel Wheels testify that the Stones are right in the element that has historically spawned their best music – a murky, dangerously charged environment in which nothing is merely what it seems. Against all odds, and at this late date, the Stones have once again generated an album that will have the world dancing to deeply troubling, unresolved emotions. But fans have a right to their desires, too, and frequently an artist's defensiveness about the narrowness of audience taste is really a response to work even the artist fears is second-rate. The best defense of exacting audience demands is the straightforward fact that these great expectations derive from the artist's own work. Another is that those demands are sometimes met by work that is both challenging and satisfying – as these splendid new albums prove. ~ Anthony DeCurtis (September 21, 1989) TRACKS: All songs by Jagger/Richards, except where noted. Side one "Sad Sad Sad" – 3:35 "Mixed Emotions" – 4:38 "Terrifying" – 4:53 "Hold on to Your Hat" – 3:32 "Hearts for Sale" – 4:40 "Blinded by Love" – 4:37 Side two "Rock and a Hard Place" – 5:25 "Can't Be Seen" – 4:09 "Almost Hear You Sigh" (Jagger/Richards/Steve Jordan) – 4:37 "Continental Drift" – 5:14 "Break the Spell" – 3:06 "Slipping Away" – 4:29 #rollingstones #charliewatts #mickjagger #keithrichards #billwyman #steelwheels
Δευτέρα 28 Αυγούστου 2023
Το μικρό κίτρινο πράγμα είναι μπουλντόζα. Θάβει λεπίδες ανεμογεννήτριας που χρησιμοποιούνται για πράσινη ενέργεια. Γιατί; Επειδή έχουν φθαρεί και δεν υπάρχει τρόπος να τα ανακυκλώσουμε προς το παρόν. Ούτε μετα από 1.000.000 χρόνια... δεν θα μπορεί η Γη να λιώσει τα σκουπίδια της πράσινης ενέργειας..... Despoina Konsta
Si ricorda sempre che, nel IX canto dell'Odissea, Ulisse nega la propria identità al cospetto del ciclope, dicendo mendacemente di chiamarsi Οὖτις, Nessuno. Bisogna anche ricordare che, nel finale del canto, quando Ulisse e i suoi compagni riprendono la via del mare dopo aver reso cieco il ciclope, l'eroe greco svela la propria identità, dicendo che si chiama Ulisse e che è figlio di Laerte. Perché la propria identità non si può negare né cancellare, la si può solo affermare e difendere: in sua assenza, non siamo nulla. Se non sappiamo donde veniamo, dimentichiamo chi siamo e dove siamo diretti.
Κυριακή 27 Αυγούστου 2023
27 agosto 1991: 32 anni fa i Pearl Jam pubblicavano "Ten". Il nome dell'album è dovuto al numero di maglia del giocatore di pallacanestro Mookie Blaylock. Tracklist 1. Once 2. Even Flow 3. Alive 4. Why Go 5. Black 6. Jeremy 7. Oceans 8. Porch 9. Garden 10. Deep 11. Release Line Up Eddie Vedder (Voce) Jeff Ament (Basso) Stone Gossard (Chitarra) Mike McCready (Chitarra) Dave Krusen (Batteria) #AccaddeOggi #RobadaRocker #PearlJam
Σάββατο 26 Αυγούστου 2023
ON THIS DATE (51 YEARS AGO) August 26, 1972 - Bob Seger: Smokin' O.P.'s is released. # ALL THINGS MUSIC PLUS+ 4/5 # Allmusic 3/5 stars Smokin' O.P.'s is an album by Bob Seger, released on August 26, 1972. It reached #180 on the Billboard 200 Top LP's chart and features the single, a remake of Tim Hardin's "If I Were a Carpenter", which reached #76 on the Billboard Hot 100. __________ COVER ART The cover art is a parody of the Lucky Strike cigarette logo. Smokin' O.P.'s refers to Smokin' Other People's Songs, a derivation on the slang phrase "Smoking O.P.'s" meaning to smoke other people's cigarettes exclusively (never purchasing your own for consumption). Most of the tracks on this release are covers of songs written by other artists. __________ ORIGINAL REVIEW It's that legendary "Heavy Music" man back on the scene again with his fifth album in as many years, and most likely his best (arguably, his best material is available only on Abkco singles, and were originally released on the Cameo-Parkway label six years ago}. If you're residing on either coast, it's a good bet you've never heard of this guy, and you've been missing a thrill. Hopefully, this album will change all that. In the South, Southwest, and all-important Midwest, they rank this Detroit boy right up there with Rod Stewart and Joe Cocker. With good reason -- Bob has consistently churned out great singles for six years, and always puts on a great, exciting live show. Seger is an intense, charismatic performer and person, and the fact that he has never made it big in California or New York is at least as unfortunate for those of us living in those states, as it is for Seger himself. And he is one of the few hard rockers who is totally capable of translating his in-concert excitement from the stage to the vinyl. The man who wrote "Heavy Music," "2 + 2," "Ramblin' Gamblin' Man," and "Death Row" in his days with Cameo and then Capitol Records (the most important of the Capitol LPs to have is Tales of Lucy Blue) comes through here not so much with original material as with successful interpretations of already popular songs. His "If I Were A Carpenter" was a pretty big hit last summer, for instance, and that's a pretty hard song to breathe new life into, it's been done so many times already. He's backed on this record by Teegarden and Van Winkle, themselves an established popular Michigan rock group (remember "God, Love, and Rock and Roll"?). Seger can rock with the best of them on guitar or keyboards, but his greatest asset is his voice. Echoes of Eric Burdon in his prime may run through your head, and justifiably so, but Seger has his own vocal style. His choice of material for this album is eclectic and successful: Bo Diddley's "Bo Diddley" and Eric Anderson's Chuck Berry riff, "Let It Rock." Plus Stephen Stills' "Love The One You're With," Leon Russell's "Hummingbird" and Bobby Blue Bland's classic "Lovelight." Worth the entire price of admission, however, is a version of "Heavy Music" that sounds very close to the original version of six years ago. It must be an old version because the band is Seger's old Last Heard, not the same personnel as on the rest of this record. The song is a prime example of and an anthem about Detroit's heavy rock and roll music. It's about time that Bob Seger achieved the recognition that his talents and his six years of sweat and poverty have earned him. There is no excuse for you to not have this album in your collection, no excuse at all. Case dismissed. - Harold Tribune, Words & Music, 12/72. TRACKS: Side One 1. "Bo Diddley/Who Do You Love?" (Bo Diddley) - 6:17 2. "Love the One You're With" (Stephen Stills) - 4:17 3. "If I Were a Carpenter" (Tim Hardin) - 3:47 4. "Hummin' Bird" (Leon Russell) - 3:46 Side Two 1. "Let It Rock" (Chuck Berry) - 3:25 2. "Turn on Your Love Light" (D. Malone, Scott) - 4:44 3. "James, Jesse" (Traditional) - 3:26 4. "Someday" (Seger) - 2:31 5. "Heavy Music" (Seger) - 2:28 #bobseger
Παρασκευή 25 Αυγούστου 2023
25 agosto 1975: Bruce Springsteen pubblica il suo terzo album "Born to Run" Lato A 1. Thunder Road 2. Tenth Avenue Freeze-Out 3. Night 4. Backstreets Lato B 5. Born To Run 6. She's The One 7. Meeting Across the River 8. Jungleland Line Up Bruce Springsteen (Voce, Chitarra, Armonica, Percussioni) Roy Bittan (Piano) Clarence Clemons (Sassofono) Garry W. Tallent (Basso) Max Weinberg (Batteria) #AccaddeOggi #BruceSpringsteen #RobadaRocker
Πέμπτη 24 Αυγούστου 2023
Τετάρτη 23 Αυγούστου 2023
“Sono così convinto di essere nel giusto che se voi aveste il potere di ammazzarmi due volte, e per due volte io potessi rinascere, vivrei di nuovo per fare esattamente ciò che ho fatto finora.” Le ultime parole pronunciate da Bartolomeo Vanzetti prima della sentenza di morte conservano la stessa potenza di quasi 100 anni fa. Sono parole di un innocente, condannato solo perché italiano, perché anarchico.
Τρίτη 22 Αυγούστου 2023
Δευτέρα 21 Αυγούστου 2023
El libro rojo de Mao Mao Tse-TungEsto es Historia Esto es Historia Des.carga: https://acortar.link/17ozrp SOBRE EL LIBRO «Uno de los libros más famosos de la segunda mitad del siglo XX, el más difundido, el más veces traducido y editado, no tiene lectores ni se encuentra fácilmente hoy en día. No es un fenómeno literario; es un fenómeno sociológico y político. Que no se engañe el curioso lector, este es un manual para la lucha, otra forma de llamar a la guerra. Un instrumento eficaz como lo fueron para Mao, en la Larga Marcha, la linterna o los mapas. El joven revolucionario ha de llevarlo consigo siempre, consultarlo, aprenderlo de memoria, dormir con él y guardarlo en un bolsillo de la camisa.» - Cita de la editorial #mao #maoismo
Σαν σήμερα, στις 21 Αυγούστου 1940, ο Λέων Τρότσκι, που παραμένει ζωντανό σύμβολο, θεωρητικός θεμελιωτής και εμπνευστής της διεθνούς εργατικής αλληλεγγύης και της διαρκούς επανάστασης, δολοφονείται από το τσεκούρι του Ραμόν Μερκάντερ. Αν ο θάνατος με χτυπούσε τούτη τη στιγμή, θα μπορούσα να πω πως εργάστηκα σ' όλη μου τη ζωή για τις εκμεταλλευόμενες και αποικιοκρατούμενες μάζες και για τον αγώνα της απελευθέρωσής τους. Για την ανάγκη να εξελιχθεί ο πολιτισμός και η τέχνη ελεύθερα. Για μια τέχνη που επιτρέπει απεριόριστα την έκφραση στην ανάγκη του ανθρώπου για ανανέωση. Για την εξέλιξη της τεχνολογίας, που από τη στιγμή που θα καταλάβουμε πώς να χρησιμοποιούμε την ενέργεια του ατόμου, θα φωτίσει την ύπαρξή μας. Και πάντοτε στο μυαλό μου, κυρίαρχη σκέψη μου ήταν η παγκόσμια επανάσταση. Μόνον αυτή μπορεί να βάλει τέλος στην εκμετάλλευση, στη βία, στον πόλεμο», έγραφε ο Λέων Τρότσκι στα Φιλοσοφικά Τετράδια: 1933-1935 και με αυτά τα λόγια συνοψίζει τη ζωή του. ...... O Λέων Τρότσκι δολοφονηθηκε στις 21 Αυγούστου 1940 Ηταν Μπολσεβίκος επαναστάτης και θεωρητικός του Μαρξισμού. Ήταν πολιτικός του οποίου λαμβανόταν σοβαρά η άποψη στα πρώτα χρόνια της Σοβιετικής Ένωσης και γι' αυτό το λόγο διετέλεσε Κομισσάριος (υπουργός) Εξωτερικών αμέσως μετά την επανάσταση και στη συνέχεια, στα χρόνια της Αντεπανάστασης, ίδρυσε τον Κόκκινο Στρατό και επιτέλεσε Κομισσάριος Πολέμου. Μετά το θάνατο του Βλαντίμιρ Λένιν διαγράφηκε από το Κομμουνιστικό Κόμμα, λόγω της ισχυρής διαφωνίας του στην πολιτική που εφάρμοζε ο Ιωσήφ Στάλιν. Για τον ίδιο λόγο, εξορίστηκε από την Σοβιετική Ένωση και τελικά δολοφονήθηκε στο Μεξικό από τον Ισπανό πράκτορα των Σοβιετικών, Ραμόν Μερκαντέρ. Οι ιδέες του Τρότσκι αποτελούν την βάση του Τροτσκισμού, αριστερού ρεύματος το οποίο αντιτίθεται στον Σταλινισμό και τον Μαοισμό. ........ https://el.wikipedia.org/wiki/%CE%9B%CE%AD%CF%89%CE%BD_%CE%A4%CF%81%CF%8C%CF%84%CF%83%CE%BA%CE%B9
Κυριακή 20 Αυγούστου 2023
ON THIS DATE (58 YEARS AGO) August 20, 1965 - The Rolling Stones: "(I Can't Get No) Satisfaction" b/w "The Spider And The Fly" (Decca F 12220) 45 single is released in the UK. "(I Can't Get No) Satisfaction" is a song by The Rolling Stones, released in May 1965. It was written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham. It reached #1 on the Billboard Hot 100 and stayed there for four weeks. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. When it was finally released in August 1965 in the UK, it reached #1 on the Singles chart. In 2004, Rolling Stone magazine placed "(I Can't Get No) Satisfaction" in the second spot on its list of "The 500 Greatest Songs of All Time". The song was added to the National Recording Registry of the Library of Congress in 2006. _________ NEW MUSICAL EXPRESS (UK), August 20, 1965 ROLLING STONES Satisfaction Here it is - the disc which topped the American charts and won a Gold Disc for the Stones -"Satisfaction". Recorded in the States, it opens with a buzzing, rasping guitar, which permeates the entire record, then in comes Mick Jagger in a hushed whisper, which suddenly explodes into full pelt with the boys joining in spiritedly. It's highly repetitive and therefore registers quickly. Runs for nearly four minutes, with rattling tambourine and that insistent, nagging guitar riff throughout. Once you've heard it, you just can't lose the extremely simple melody line. Perhaps their most compulsive disc to date. "The Spider And The Fly" (like the top side, a Jagger -Richards number) is a lazy, relaxed, bluesy item. Opens with a lengthy harmonica solo then leads into a casual, reflective, tongue-in-cheek Jagger vocal. Decca. __________ MELODY MAKER AUGUST 28, 1965 People don't hate us as much.. With "Satisfaction" a worldwide phenomenon, by August THE ROLLING STONES are in the throes of stardom: managing recordings, tours, movies and the media. Only one Stone is unconvinced. "They can do a follow-up story on us," says Charlie of the newspapers. "When we're dustmen..." +++++ “SATISFACTION” WILL NO doubt be a giant hit for The Rolling Stones in Britain – just as it already has been in the States. But why the long delay before British fans can catch up with their American counterpart? I asked Mick Jagger to explain. “We cut ‘Satisfaction’ in Los Angeles when we were working there,” said Mick. “We cut quite a lot of things and that was just one – contrary to some newspaper reports it only took us just half-anhour to make. We like it, but didn’t think of it as a single. Then London said they had to have a single immediately because ‘The Last Time’ was long gone and we had a Shindig TV date and had to have something to plug. So they just released “Satisfaction” as a single. “In England we already had the EP all pressed, the covers done and the plugs lined up before we ever knew that ‘Satisfaction’ was going to be a single. We weren’t too happy about the single, as we hadn’t thought of it that way, but now, of course, we are happy. Anyway, after the EP, The Beatles had ‘Help!’ and it seemed silly to issue ‘Satisfaction’ then. If ‘Help!’ hadn’t come out then, we would have brought ours out a month ago.” Did Mick think the sales of “Satisfaction” would be affected by the long advance plugging of the American disc on pirate radio? “That is just one of those things,” shrugged Mick. “We didn’t really know what to do – we were between the deep blue sea and frying fat, or whatever the expression is. In fact, advance orders for ‘Satisfaction’ are very good. The point is that the Stones aren’t in control of everything – some things are out of our hands. We make the records and have a large say in what is released in this country. But America is so different. In the States they will put out an album made up of already-released singles. So what do we say? If it sells a lot in America then we are forced to bring it here. I don’t want anybody to think we are putting America before Britain – it’s just a case of looking after the needs of one country at a time.” “Satisfaction” is a successful songwriting collaboration by Jagger and Keith Richards. How do they set about writing a song? What comes first, title, lyric or melody? “I get the idea for a lyric quite separately from the songs. And Keith gets his ideas quite separately from my lyrics,” explained Mick. “Keith may play a phrase and it fits with one of my ideas for a lyric. In the case of ‘Satisfaction’, we thought of a phrase and the riff first and worked from there.” Did Mick hear anything new on his visit to the States last week? “I was only there a couple of days, so I didn’t get the chance to go anywhere much – except the Beatles concert and the party afterwards,” said Mick. “Keith and I had a lot of trouble in New York. We were only there two days, but there were a lot of kids outside the hotel – and of course, we didn’t have the security that The Beatles had.” __________ SONGFACTS On May 6, 1965, The Rolling Stones played to about 3,000 people at Jack Russell Stadium in Clearwater, Florida while on their first US tour. According to an article in the St. Petersburg Times, about 200 young fans got in an altercation with a line of police officers at the show, and The Stones made it through just four songs as chaos ensued. That night, Keith Richards woke up in his hotel room with the guitar riff and lyric "Can't get no satisfaction" in his head. He recorded it on a portable tape deck, went back to sleep, and brought it to the studio that week. The tape contained his guitar riff followed by the sounds of him snoring. Richards was staying at the Fort Harrison Hotel (known at the time as the Jack Tar Harrison Hotel) when he rolled out of bed with the idea for this song. The hotel still exists. In 1975, it was bought by the Church of Scientology and frequently hosts religious retreats. +++++ Mick Jagger (1968): "It sounded like a folk song when we first started working on it and Keith didn't like it much, he didn't want it to be a single, he didn't think it would do very well. I think Keith thought it was a bit basic. I don't think he really listened to it properly. He was too close to it and just felt it was a silly kind of riff." +++++ Richards ran his guitar through a Gibson Fuzz Box to create the distortion effect. He had no intention of using the sound on the record, but Gibson had just sent him the device, and he thought the Fuzz Box would create sustained notes to help sketch out the horn section. The band thought it sounded great and wanted to use the sound because it would be very unusual for a rock record. Richards thought it sounded gimmicky and did not like the result, but the rest of the band convinced him to ditch the horn section and use the distorted guitar sound. __________________ The Rolling Stones’ “(I Can’t Get No) Satisfaction” by Performing Songwriter website On May 7, 1965, Keith Richards woke up in the middle of the night with a melody in his head. He was in a room at the Gulf Motel in Clearwater, Florida. His guitar was on the bed beside him. Fumbling around in the dark, he found his portable cassette recorder on the nightstand. He pushed the record button and played an eight-note riff. It was accompanied by the mumbled vocal line, “I can’t get no satisfaction.” Then he fell back asleep. “On the tape, you can hear me drop the pick,” Richards recalled. “The rest is me snoring.” The Rolling Stones were in the middle of their second US tour as headliners. The band had already scored two Top 10 hits – “Time Is On My Side” and “The Last Time” – but in the ranks of the British Invasion, they were still a notch below Herman’s Hermits. They needed a defining single that would put them over the top. Keith didn’t initially recognize that his motel room riff was exactly what the Stones were looking for. “I never thought it was anything commercial enough to be a single,” he told Philip Norman in Sympathy For The Devil. Indeed, Stones bassist Bill Wyman later said that Richards had conceived it “as a folk song, probably a good filler track for our next album.” “I think Keith thought it was a bit basic,” Mick Jagger has said. “I don’t think he really listened to it properly. He was too close to it and just felt it was a silly kind of riff.” But Jagger was inspired by the idea and quickly wrote a lyric. During their tour, the Stones had been making pit stops at various American studios to record their ideas. On May 10, just three days after Richard’s midnight ramble, they entered Chess Studios in Chicago. As home to some of their biggest influences—Chuck Berry, Bo Diddley and Muddy Waters—Chess seemed the perfect location to lay down their new song-in-progress (it couldn’t have been lost on Jagger and Richards that Muddy had once cut a song called “I Can’t Be Satisfied”). With manager Andrew Loog Oldham producing, the group did an acoustic country-ish version of “Satisfaction” that sounded more like Bob Dylan. The sexy swagger that would mark the finished version was completely absent. Oldham diplomatically called the chorus hook “subliminal.” Two days later, in Los Angeles, the Stones checked into RCA Studios on Hollywood Boulevard. Inspired by the potential of Richards’ recently acquired Maestro FuzzTone pedal, the Stones launched into a much more aggressive feel. “Charlie [Watts] put down a different tempo,” Richards told Blender, “and with the addition of the fuzzbox on my guitar, which takes off all the treble, we achieved a very interesting sound.” In addition to the band, famed LA arranger Jack Nitzsche pitched in with tambourine and piano, adding a kind of Motown four-on-the-floor propulsion. The band was elated with the result. But Richards wasn’t convinced. He said that his fuzz guitar line was intended only as a sketch for a horn section when the band came to record the final version (he was now hearing the song as a tribute to Martha & the Vandellas “Dancing In The Street”). “I left it in the studio thinking, ‘This is good, but it needs working up,’” Richards said. As the Stones resumed touring, Oldham started promoting the new song. Richards told Blender, “I guess he thought, ‘They can work it up all they want, but it’s about the freshness and the timing.’ Which is, after all, everything.” Knowing that the song’s suggestive lyric (especially the line about “trying to make some girl”) might prevent the song from getting airplay, Oldham decided to bury it in the mix. “I never heard the damn lyrics to ‘Satisfaction’ for years,” said RCA engineer Dave Hassinger. “They kept telling me to bring the voice down more into the track. I thought they were crazy. I didn’t know it had to do with the lyric and getting radio play.” The single was released on May 27. Despite the murky vocals, the song became a target for the anti-rock establishment. Newsweek dubbed the Stones a “leering quintet” and said “Satisfaction” was full of “tasteless themes.” A select ban in certain cities couldn’t stop the song’s rise. On July 10, it hit number one for the first of four weeks. In 1988, when Rolling Stone voted it the greatest pop single of the past 25 years, Richards confessed, “I hear ‘Satisfaction’ in ‘Jumping Jack Flash.’ I hear it in half of the songs that the Stones have done.” In 1990, the Stones’ former manager Allen Klein signed a $4 million deal allowing the song to be used in a TV commercial for Snickers candy bars. In 2000, a VH1 poll of 700 music-industry movers and shakers voted “Satisfaction” as the top rock song of all time. Though he’s been happily playing the song in concert for the last 40 years, Richards admits, “If I’d had my way, ‘Satisfaction’ would never have been released. The song was as basic as the hills, and I thought the fuzz-guitar thing was a bit of a gimmick.” — By Bill DeMain #TheRollingStones #ICantGetNoSatisfaction #satisfaction
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