Riprendo qui una discussione che è affiorata più volte. Brian suona in Satisfaction. Beh c'è una prima versione inedita dove ha suonato un assolo d'armonica. In quella pubblicata per quanto mi risulti (e qui sotto ho citato fonti abbastanza importanti) suona la ritmica. Se qualcuno sa qualcosa lo dica....


John Moores

(I CAN'T GET NO) SATISFACTION (Jagger, Richard)*
Rec: May 11-12, 1965.
Rel: June 4, 1965 (U.S. 45)
M. Jagger: Lead and Backing Vocals, Tambourine (?).
K. Richard: Lead Guitar, Backing Vocals.
B. Jones: Acoustic Guitar.
B. Wyman: Basses.**
C. Watts: Drums, Tambourine (?).
I. Stewart: Piano.
*According to some people (like Noel Redding, Hendrix bassist), Brian
actually authored the riff to Satisfaction. Jones would play the riff
live, and twist it into the theme from "Popeye". Apparently Richard
has claimed that the song was written after an aborted attempt at
recording "Dancin' In The Street" at Chess, presumably on Nov. 8,
1964. Session logs apparently don't mention anything about this.
**There are apparently two separate tracks on the song. Presumably one
is from the May 10 recording, over which this version was apparently
dubbed.



Keno

(I CAN'T GET NO) SATISFACTION

Recorded May 10 - 13, 1965. Released first as a US single June 5, 1965, then released on Out Of Our Heads.
Lead Vocal: Mick Jagger Electric Guitars: Keith Richards (lead) & Brian Jones Drums: Charlie Watts Bass: Bill Wyman Background Vocals: Keith Richards Tambourine: Mick Jagger




Nico Zentgraf

650527A 27th May : THE ROLLING STONES.
7“ single (London 9766 -US). Producer: Andrew Oldham.
A: Satisfaction (MJ/KR)
B: The Under Assistant West Coast Promotion Man (Nanker Phelge)
Note: Both tracks previously unreleased in the UK.
Line-up ‘Satisfaction’: MJ (voc)/KR (gtr, bvoc)/BJ (gtr)/BW (bass)/CW
(dr)/Jack Nitzsche (tamb)
Line-up ‘West Coast Promo Man’: MJ (voc)/KR (gtr)/BJ (harm)/BW (bass)/
CW (dr)/STU (p)

...La versione originale del brano fu registrata agli Studi Chess di Chicago insieme ad altro materiale nel corso di una seduta-fiume di 17 ore che inizio' verso mezzogiorno di Lunedi' 10 Maggio per terminare alle 5 del mattino dell'indomani, ora in cui il gruppo stacco' per poter volare per circa 2500 Km. per raggiungere Los Angeles esattamente alle 10 del mattino di mercoledi' 12 Maggio agli RCA di Hollywood con l'intenzione di reincidere il brano insieme ad altri brani per la versione Americana di "Out of our Heads".Smisero soltanto alle 2 e mezza del mattino di Giovedi' 13 Maggio.Dopo un pisolino Dave Hassinger e Oldham ritornarono agli RCA per missare i brani,e, all'una del pomeriggio li raggiunse il gruppo per un'altra seduta di registrazione di 9 ore.La sera di Venerdi' 14 Maggio, i Rolling volarono a San Francisco per uno show al Civic Auditorium.

Nella prima versione la canzone aveva una sonorita' acustica e privilegiava la melodia.La svolta avviene con l'introduzione del Distorsore che rese sporco e indistinto il suono delle chitarre;gran merito ando' al Tecnico Dave Hassinger.

La Prima versione, fu fatta ai Chess il 10 Maggio in versione acustica senza fuzztones, con BRIAN all'armonica, poi agli RCA fu aggiunta la chitarra col distorsore e Charlie suono' la batteria con un ritmo diverso,dando un nuovo tempo.I Rolling misero ai voti il fatto che "satisfaction" dovesse o no uscire come singolo, vinsero 6 a 2 i favorevoli, i due contrari manco a dirlo erano proprio Mick e Keith!

Nella versione definitiva,quella poi apparsa su disco BRIAN suona insieme a Keith la chitarra elettrica...

da time is on our side

Probable line-up:

Drums: Charlie Watts
Bass: Bill Wyman
Acoustic guitar: Keith Richards
Electric guitar: Keith Richards
Lead vocal: Mick Jagger
Background vocals: Mick Jagger & Keith Richards
Tambourine: Jack Nitzsche

It was just a riff. I didn't think... I didn't think of it as... I woke up in the middle of the night, put it down on a cassette. I thought it was great then. Went to sleep and when I woke up, it appeared to be as useful as another album track. It was the same with Mick too at the time, you know. It goes da-da, da-da-da... and the words I'd written for that riff were I can't get no satisfaction. But it could just as well have been Auntie Millie's Caught Her Left Tit in the Mangle.
- Keith Richards


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... (We wrote it in) Tampa, Florida, by a swimming pool.
- Mick Jagger, 1968


Keith wrote the lick. I think he had this lyric, I can't get no satisfaction, which, actually, is a line in a Chuck Berry song called 30 Days... I can't get no satisfaction from the judge... (T)hat was just one line, and then I wrote the rest of it. There was no melody, really.
- Mick Jagger, 1995


I remember vividly making Satisfaction. It was at RCA in Los Angeles, in the same studio where Duke Ellington recorded one of the greatest records he ever made, Ellington Uptown, with Louie Bellson on drums: that's the famous A Train track. Dave Hassinger, the engineer, used to smoke Tiparillos constantly. He seemed a lot older, like a man, while we were still boys. And LA was like Wow!.
- Charlie Watts, 2003


(T)hat riff needed to sustain itself and Gibson had just brought out these little (distortion) boxes so... But the riff was in essence not meant for the guitar. Otis Redding got it right when HE later recorded it because it's actually a horn riff. I never thought that was song was commercial anyway. Shows how wrong you can be.
- Keith Richards


Whatever it was, 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 shit 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.
- Keith Richards, September 1992


I didn't think much of Satisfaction when we first recorded it. We had a harmonica on then and it was considered to be a good B-side or maybe an LP track.
- Keith Richards, 1965


With Satisfaction I got the fuzz tone and I thought we'd already finished all the tracks that we wanted to cut. So this was just a little sketch, because, to my mind, the fuzz tone was really there to denote what the horns would be doing. But Andrew spotted the spirit of the track and we were already back on the road before we heard that they'd decided that Satisfaction was going to be the single. We had thought we were going to cut a better version. It was still not fisnished as far as we were concerned, but sometinmes an artist's skcetches are better than the finished painting, and that's probably one of the perfect examples.
- Keith Richards, 2003


After we listened to the master, we discussed whether or not it should be the next single. Andrew and Dave Hassinger were very positive about it, so we put it to the vote. Andrew, Dave, Stu, Brian, Charlie and I voted yes, while Mick and Keith voted no. It became the next single by the majority vote.
- Bill Wyman, Rolling With The Stones, 2002


I never heard the damn lyrics to Satisfaction for years. They kept telling me to bring the voice down more and more into the track. I thought they were crazy. I didn't know it had to do with the lyric and getting radio play.
- Dave Hassinger, 1979


Girlie action was really Girl reaction. The dirtiest line in Satisfaction they don't understand, see? It's about You better come back next week cause you see I'm on a losing streak. But (people) don't get that. It's just life. That's really what happens to girls. Why shouldn't people write about it?
- Mick Jagger, 1966


People get very blasé 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...
- Mick Jagger, 1995


I remember hearing Satifaction on the bus radio. I was enjoying the fact that people like Otis Redding covered it. And when we play it today live we still have that essence of the soulful treatment that Otis gave Satisfaction.
- Ron Wood, 2003


I couldn't sit down and write anything like I can't get no, no, no, no... any more. All that was a bit adolescent, but the sense is still true.
- Mick Jagger, 1969


I can play Satifaction today or tomorrow and still find new stuff in there, and little nuances. And the way to play it with these guys, you know, which is important. Because you never play it the same twice... Songs are difficult things to talk about because you never know where they start. And then when you've been playing them for 30 odd years (laughs) you're never quite sure where they end either. They keep changing on you.
- Keith Richards, 2003


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.
- Mick Jagger, 1995



Ragazzi, con tutto il bene che si possa volere a Brian, dalle testimonianze di chi c'era (cioè gli Stones e non i vari collezionisti, completisti, dcumentaristi e amici degli amici) e ci ha suonato emerge che come molte altre canzoni sono frutto della mente di Mick e Keith. Tranquilli, Brian era grande lo stesso! E poi non pensate che avrebbe avuto ben 4 anni per reclamare la paternità del riff (come ad es. fece con bill per JJF) ed invece non ha mai fatto?

Argomento e polemica sterile ...

un saluto
m.

Tu hai mischiato due cose:

a) paternità del riff
b) partecipazione all'incisione

Per quanto riguarda la paternità del riff io tra l'altro penso sia di Keith. Ma di certo non posso darlo per certo affidandomi alle testimonianze di Keith. Brian aveva detto in vita di essere l'autore del riff: Noel Redding non ha saputo la cosa in sogno. Non mi sembra per altro che Bill abbia fatto molte dichiarazioni su JJF o abbia lanciato strali ai Glimmer Twins dal 68 al 72.

Per quanto riguarda la partecipazione di Brian all'incisione (tema della discussione visto che l'altro è così aleatorio) sono molte di più le voci che lo vogliono presente. Non siamo nel 69, Brian è ancora presente. Nella prima versione del pezzo si occupa anche della parte di armonica.

Comunque nessuno ha detto che la grandezza di Brian sta nell'aver partecipato all'incisione di Satisfaction. Il mio intervento alle scimmie era appunto teso verso il criterio opposto.

Di certo il 70 percento delle testimonianze che hai portato non c'entrano nulla. Cosa c'entra il fatto che Ron la sentiva in bus ad esempio?

Anche io la so così. Wikipedia (che tra parentesi è inaffidabile) riporta l'assenza di Brian a cui fa riferimento Pizza (citanto Time is). Da dove nasce questa versione dei fatti? Bill cosa dice a riguardo che non ricordo?

briano
io più che riportare le parole di chi c'era non so cosa fare. come ti ho detto non me ne frega nulla. brian ci suona? bene. non ci suona? bene lo stesso.
se non sbaglio riporti tu quanto dice redding
cito:
*According to some people (like Noel Redding, Hendrix bassist), Brian
actually authored the riff to Satisfaction.
per cui crediamo più a chi non c'era in studio e morta lì. viva brian.
stammi bene
ciao
m.

Io guarda ho solo dubbi sulla cosa e lo avresti intuito se avessi letto il mio messaggio a Massimo. Ho anche scritto che io penso che il riff sia di Keith. Redding per altro era certamente più vicino agli Stones di Ron Wood negli anni successivi a Satisfaction.
Nessuna delle tue testimonianze ha detto "Brian non c'è nell'incisione di Satisfaction".

prendete stone alone da pag. 316 a 318. bill dice che brian suonò l'armonica nella prima take ai chess studios che però non soddisfaceva nessuno; non fa cenno alla presenza di brian negli studi RCA a LA per cui il mistero rimane. la votazione per farne un singolo avvenne solo dopo l'ascolto del master ma bill non precisa quando ciò avvenne.
propendo sempre a credere maggiormente a chi c'era piuttosto che alle voci di corridoio o dell'amico dell'amico dell'amico ... può essere importante notare che fra il 6 e 7 maggio Mike Dorsey picchiò Brian e gli ruppe due costole e potrebbe quindi questa essere la ragione dell'assenza di brian in studio a LA.
ciao
m.

Beh queste le trovo cose molto più importanti. Il mistero rimane. Se qualcuno sa qualcosa d'altro lo dica.