Comments, input and alterations are very welcome!
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You Can’t Always Get What You Want

Composers: Mick Jagger & Keith Richards
Recording date: February-March 1969
Recording location: Olympic Sound Studios, London, England
Producer: Jimmy Miller
Chief engineer: Glyn Johns

First released: 4th July 1969 B-Side of The Rolling Stones 7" single Honky Tonk Women
Label: Decca F 12952

Line-up:
Lead vocal: Mick Jagger
Acoustic guitars: Keith Richards & Mick Jagger
Electric guitar: Keith Richards
Bass: Bill Wyman
Drums: Jimmy Miller
Piano: Al Kooper
Organ: Al Kooper
French horn: Al Kooper
Maracas: Rocky Dijon
Congas: Rocky Dijon
Tambourine: Rocky Dijon
Background vocal: Madeline Bell
Background vocal: Nanette Newman
Background vocal: Doris Troy
Choir: The London Bach Choir (Approx. 50 members)
Choral arrangements: Jack Nitzche



You Can’t Always Get What You Want

I saw her today at the reception
A glass of wine in her hand
I knew she would meet her connection
At her feet was a footloose man

Now you can't always get what you want
You can't always get what you want
You can't always get what you want
And if you try sometime, you'll find
You get what you need

I saw her today at the reception
A glass of wine in her hand
I knew she was going to meet her connection
At her feet was a footloose man

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well you might find
You'll get what you need

Ah baby, yeah
Oh

And I went down to the demonstration
To get my fair share of abuse
Singing We're going to vent our frustration
If we don't, we're going to blow a 50 amp fuse

Sing it to me

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well you just might find
You'll get what you need

Ah baby, yeah
Ah

I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And, man, did he look pretty ill

We decided that we would have a soda
My favorite flavor was cherry red
I sung my song to Mr. Jimmy
Yes, and he said one word to me and that was dead

I said to him

You can't always get what you want, no
You can't always get what you want, yeah
You can't always get what you want, no
But if you try sometimes, you just might find
You get what you need

Oh yeah

You get what you need

Yeah
Ah baby, ah yeah

I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands

You can't always get what you want, yes
You can't always get what you want, ooh yeah
You can't always get what you want
But if you try sometimes, you just might find, you just might find
You get what you need

Ah yeah, ah baby

Ah you can't always get what you want, no, no, baby
You can't always get what you want, tell me now
You can't always get what you want
If you try sometimes, you just might find, you just might find
You get what you need

Ah yeah, ah (...)

Note: Info taken from TIOMS, NZentgraf and the WW-Internet

Edit one (Replaced the glass of wine in my hands into her's)
Edit two (Jack Nitzche is man how could we for get him!!!!)
Edit three (Removed the acoustic guitar by Mick)



Edited 4 time(s). Last edit at 2016-07-11 10:59 by NICOS.

A magnificent song and sentiment with some of the best words Mick/Keith ever wrote.

Everything from Al Kooper's chilled out intro on French horn to Mick's nonchalent phrasing of the opening lines, "I saw her today at the reception"; Keith's fabulously expressive lead guitar lines and Jimmy Miller's rousing and rising drumming towards the end screams that this is a classic.

For me this is soul-gospel music and had he lived I can imagine Otis Redding doing an absolutely killer version, truly testifying the heartfelt lyrics as a gospel chorus builds up around him.

But the real star of the show is Al Kooper, the afore-mentioned French horn intro and his wonderful piano and organ playing underpin the whole song and give it a beautiful momentum.

Words can’t really do justice to a song of this caliber … but I’ll try.

This being 1969, Mick and Keith are of course at the apex of their powers, and here they forge one of their most unforgettable compositions. That irresistible chorus, in particular, is a major reason why this song is so electrifying when performed live.

But it is the stellar contributions of the supporting musicians that really elevate this track to the stratosphere. The London Bach Choir’s ravishingly beautiful harmonies, so properly enunciating the Glimmer Twin lyrics (high culture meeting low, with a wink), bathe the track in a quasi-religious glow. Al Kooper’s equally sublime French horn and keyboards heighten its grandeur and majestic sweep. And as the song heats up, Rocky Dijon’s intoxicating percussion sucks us helplessly into its rhythmic vortex. (“Mr.”) Jimmy Miller’s brilliant production and drumming are the icing on the cake.

With YCAGWYW, the Stones shut the door on the 1960’s with an awe-inspiring expression of the insight that was dawning on the young-but-aging flower-power counter-culture – that life is not always going to give you what you want – yet it is buoyed with optimism that things will actually work out as they should. The vignettes in Mick’s astonishing lyrics bring to life the ambiguities and frustrations inherent to relationships, drugs, and politics – key touch-points of the tumultuous decade that was now drawing to a close. But they do so with such poetic force, such vivid and imaginative imagery, that the listener is utterly transported.

A masterpiece, and truly one of the greatest and most important songs in rock and roll history.

Drew



Edited 1 time(s). Last edit at 2016-07-09 14:23 by drewmaster.

I fully agree with Silver Dagger & drewmaster.
YCAGWYW is one of the Stones´ true masterpieces.

I try to get the feeling I when I heard this song for the first time februari 1970 "Let It Bleed" birthday present from my parents age 16 years........
I was stunned when I heard the choir coming in to my bedroom.............. what is this!!!!!!!!! .............the record didn't leave my turntable for months............"You Can’t Always Get What You Want" wel I got what I want the greatest LP and one of the song ever made...........

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Edited 1 time(s). Last edit at 2016-07-04 17:05 by NICOS.

Quote
NICOS
I try to get the feeling I when I heard this song for the first time februari 1970 "Let It Bleed" birthday present from my parents age 16 years........
I was stunned when I heard the choir coming in to my bedroom.............. what is this!!!!!!!!! .............the record didn't leave my turntable for months............"You Can’t Always Get What You Want" wel I got what I want the greatest LP and song ever made...........

Beautifully put, Nicos!

By the way, a little typo in your lyrics: second line should be "A glass of wine in her hand" (not "A glass of wine in your hand").

Cheers,
Drew

Rocky Dijon really cut the mustard on this one. ><

Quote
drewmaster

Quote
NICOS
I try to get the feeling I when I heard this song for the first time februari 1970 "Let It Bleed" birthday present from my parents age 16 years........
I was stunned when I heard the choir coming in to my bedroom.............. what is this!!!!!!!!! .............the record didn't leave my turntable for months............"You Can’t Always Get What You Want" wel I got what I want the greatest LP and song ever made...........

Beautifully put, Nicos!

By the way, a little typo in your lyrics: second line should be "A glass of wine in her hand" (not "A glass of wine in your hand").

Cheers,
Drew

Yes I know...............but I thought the glass of wine belongs in my hand
Corrected.

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One of the best.
Too much to expect this standard of songwriting to continue, sadly.

One of their greats, an adventurous attempt at a rock opera.

Choral arrangements: Jack Nitzche - as listed on the inner sleeve of my Vinyl album.

Definitely one of the "Five Pillars" of the Rolling Stones. There are simply not enough superlatives and I think the song, as well as the Rolling Stones, will be eternal.

Quote
runaway
One of their greats, an adventurous attempt at a rock opera.

Choral arrangements: Jack Nitzche - as listed on the inner sleeve of my Vinyl album.

Thanks i've added it....next time I will check my records

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NICOS

Quote
runaway
One of their greats, an adventurous attempt at a rock opera.

Choral arrangements: Jack Nitzche - as listed on the inner sleeve of my Vinyl album.

Thanks i've added it....next time I will check my records

Jack Nitzche was involved with so many great Stones songs _ Thanks

One of the best.
It sails along and floats as if it has wings - close to perfection from beginning to end.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
NICOS

Quote
runaway
One of their greats, an adventurous attempt at a rock opera.

Choral arrangements: Jack Nitzche - as listed on the inner sleeve of my Vinyl album.

Thanks i've added it....next time I will check my records

I believe you also missed

Lying on floor reading botany magazine: Brian Jones
(source - Bill Wyman)

Wow - only 16 posts for such an epic song. I guess we're really coming to the end of the Track Talk road. It's been such a great thread series. Thanks again to Rene for starting it and for Nicos for carrying it on.

Would you consider Salt of the Earth as a predecessor of this glorious song?
Interesting that they sang both songs at the Rock 'n Roll Circus.

Just as long as the guitar plays, let it steal your heart away

A natural continuation of Salt Of The Earth. Perhaps the strongest album closers ever, together with Moonlight Mile.

Three epic songs.

The first time I heard this song I thought what are they doing? This sounds just like the Rolling Stones trying to sound like the Rolling Stones and if they are going to do this type of Vegas stuff they should just quit now and not ruin their legacy because no one wants to see a old worn out 25 year old geezer singing like he is some kind of young pop star.

That insane cymbal Jimmy Miller gets staggering along in the build-up to the switch to doubletime
is absolutely astounding, and constitutes 93% of what makes that change such a glorious release

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jambay
The first time I heard this song I thought what are they doing? This sounds just like the Rolling Stones trying to sound like the Rolling Stones and if they are going to do this type of Vegas stuff they should just quit now and not ruin their legacy because no one wants to see a old worn out 25 year old geezer singing like he is some kind of young pop star.

You funny guy you.

Me, I prefer the version without choir.

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HMS

Quote
jambay
The first time I heard this song I thought what are they doing? This sounds just like the Rolling Stones trying to sound like the Rolling Stones and if they are going to do this type of Vegas stuff they should just quit now and not ruin their legacy because no one wants to see a old worn out 25 year old geezer singing like he is some kind of young pop star.

You funny guy you.

Me, I prefer the version without choir.

awww maaaaan,
That my best imitation of those kind of posts... but I guess it didn't work


Then again, I did chuckle a bit imagining an (my) 8 year old (self) saying
something like that in 1969 and getting instantly hired as a music reviewer.

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DandelionPowderman
A natural continuation of Salt Of The Earth. Perhaps the strongest album closers ever, together with Moonlight Mile.

Three epic songs.

Great point Dandy. This deserves a thread of its own. How important is an album closer? A strong album closer should make you want to put the album on again. Those three you mentioned are without a shadow of a doubt the greatest closers. Shattered is great too but not in the same epic grandeur as these.



Edited 1 time(s). Last edit at 2016-07-05 13:42 by Silver Dagger.

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with sssoul
That insane cymbal Jimmy Miller gets staggering along in the build-up to the switch to doubletime
is absolutely astounding, and constitutes 93% of what makes that change such a glorious release

Mmmm, yes yes yes. Minutiae like this is why I love this site.

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Silver Dagger

Quote
with sssoul
That insane cymbal Jimmy Miller gets staggering along in the build-up to the switch to doubletime
is absolutely astounding, and constitutes 93% of what makes that change such a glorious release

Mmmm, yes yes yes. Minutiae like this is why I love this site.

And has always been my favorite instant of the song; it is so 'gospel'.

Re, the closers: yes it's perfect. I like when they chose the closer based on the album. In this way "Soul Survivor" is a perfect closer for 'Exile'. It is a ragged song; not the greatest - and IMO therefore ideal.
"Fingerprint File" was another very good one. And "All About You" at the time of Emotional rescue's re;ease was superb; such a surprise too. But by now it has turned into a clichee. Sure, there have been tmes when the Keith ballad was the best closer, but "Sleep Tonight", "Slippin Away", "Thru & Thru", "How Can I Stop", "Infamy"?
Or, after the great "Soul Survivor" choice, we had 'Crazy Mama", @#$%&", "Must Be Hell".

How Can I Stop had some of the same epic greatness, imo, mostly due to Wayne and Charlie's interplay. Great stuff!

The LB Choir, although content with their contribution, were not over-impressed with the rest of the album's content (Midnight Rambler) and wished to renounce their role in it. However, it was too late. An abbreviated version without the orchestral theatrics was obtainable on bootleg.
YCAGWYW 10,11 December 1968: BBC London - Bootleg only.



Edited 1 time(s). Last edit at 2016-07-05 16:07 by runaway.

What about Keith's guitar contributions to this recording? Any thoughts or comments?

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Palace Revolution 2000
Sure, there have been tmes when the Keith ballad was the best closer, but "Sleep Tonight", "Slippin Away", "Thru & Thru", "How Can I Stop", "Infamy"?
Or, after the great "Soul Survivor" choice, we had 'Crazy Mama", @#$%&", "Must Be Hell".

PR2000 dear, I have tried and failed to understand this part of your message. Would you care to clarify a bit?
You seem to be saying there's something second-rate about all the closing songs you've listed,
which wouldn't leave very many "times when [a Keith LV track] was the best closer" :E
And what's wrong with Crazy Mama as a closer?!

Sorry, this is quite a digression from the topic of the thread, isn't it.
I love the Rock & Roll Circus version very dearly. I wonder where that young girl is now -
the one Mick kept returning to to address his lines to so pointedly

[www.youtube.com]

Quote
runaway
The LB Choir, although content with their contribution, were not over-impressed with the rest of the album's content (Midnight Rambler) and wished to renounce their role in it. However, it was too late. An abbreviated version without the orchestral theatrics was obtainable on bootleg.
YCAGWYW 10,11 December 1968: BBC London - Bootleg only.

I would much prefer a version without the choir. I think they sound awful at the beginning, not so much at the end. Reminds me of when opera singers and West End musical singers try to sing rock n roll or even pop. Horrible. i'd rather hear Dylan attempt opera.
For me they ruin one of the stand out cuts in the band's entire catalogue and one of the highlights of the 60s music scene.
Shame we can't get a Rock Band / Guitar Hero version of this so I can mix them out.
Appreciate I might be in a minority of one on this issue.