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I don't think it happened in Florida?
I noticed that and the author probably took notice of the Nowhere to run reference thanks to iorr. It is not just the riff that is similar. I think they just used the song as a template for Satisfaction. Yesterday is clearly based on Georgia on my mind.
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
You count.. but you still play with three notes...
- Doxa
There is truth and wisdom in what you say, o Rockman
Here's my copy. Seems to be a 1965er but not a rare one. More satisfying was that it only cost £1 in a charity shop a year or two ago.
Haha... this, if anything ever, is a question of semantics... (I guess we both know what the other means by the words here, but pretty hard to understand what the writer means by that five notes...
)
- Doxa
He means «da-da. da-da-da», instead of including it all: «da-da. da-da-da. da-da-da-da».
After that, a new round with the same starts
Well, I guess we both have to count again: It's 9!
[www.youtube.com]
Nope, it is 10.
Da Da Da Da Da Ascending Da Da Da Da Da Descending. Etc.
It is the ultimate way of musical mass media brainwashing after all those years, musical terrorism so to speak.
You're wrong this time. The last «Da» simply isn't there, if you listen carefully.
https://
And then it starts again, as on the original release, that's 10 to me, he he.
Edited 1 time(s). Last edit at 2017-05-23 15:39 by TheflyingDutchman.
Yes, that's what he plays as well! Go back to youtube, press the white (HD) button, go to speed and press x 0,5. Then you clearly hear that after the 9th note he makes a slide down to note 10 , string 5 fret 2. And then the riff starts again.It would sound very silly to leave that 10th note out. If you don't hear it at half speed, same pitch it is the end of the story for me.
Edited 2 time(s). Last edit at 2017-05-23 16:18 by TheflyingDutchman.
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Re: The Financial Times write about Satisfaction
Posted by:
pgarof
()
Date: May 23, 2017 00:16
Sorry the link seems to be asking for money now, that's not the link I copied
Re: The Financial Times write about Satisfaction
Posted by:
pgarof
()
Date: May 23, 2017 00:23
Nope, sorry it's not the same link I clicked on. Oh well!!
Re: The Financial Times write about Satisfaction
Posted by:
jlowe
()
Date: May 23, 2017 00:35
I think the FT is subscription only (on line).
Can it (legally) be downloaded onto these pages?
Can it (legally) be downloaded onto these pages?
Re: The Financial Times write about Satisfaction
Posted by:
Casino Boogie
()
Date: May 23, 2017 01:39
Here you go.
In the mid-1960s there must have been something in the pillows. Famously, the melody of “Yesterday” came to Paul McCartney in a dream. Early in 1965, in a Florida hotel, inspiration similarly struck a slumbering Keith Richards in the form of a five-note guitar riff. Waking, he hastily recorded it on reel-to-reel tape; then he went back to sleep.
Richards took the tape (two minutes of playing, he would say later, “then me snoring for 40 minutes”) to his bandmates and asked them the same question McCartney posed to his: was this an original fragment or simply cryptomnesia, a non-attributed memory? Slight chimes with Martha and the Vandellas’ “Nowhere to Run” aside, the riff was original enough and powerful enough to make a song.
Richards laid down fuzzed guitar as a marker for where he thought a Motown-style horn part should run. Rare stereo versions separate out the guitar lines so that you can hear the distorted line and an acoustic one run in tandem (and reveal Jack Nitzsche’s piano); in the mono brutality of the released version the two become one. The guitar line comes and goes — at times it drops out so that the beat is kept solely by handclaps and drums hard on the beat, and then the riff nags back in.
The lyrics are often read as referring specifically to sexual frustration, Jagger rhyming “satisfaction” with “girl reaction” (it sounds as if he is singing about “girly action”, which is even worse), but the subject matter is wider than that. Most of the song is a rejection of the white heat of consumerism — an advertiser tells the narrator how white his shirts could be, and which brand of cigarette he should smoke. Jagger’s verses are, literally, one note, a sort of drawled proto-rap, which makes the diminished arpeggio of the chorus all the more striking: a form of release that simultaneously bemoans its own lack of release.
The sexual references in the third verse guaranteed the kind of controversy on which the band thrived, setting them up for censorship on television and radio and sending fans to the shops for a potent hit of danger. “Satisfaction” was the Stones’ first American number one. It marked the point at which they moved away from being rhythm’n’blues copyists to the creators of bona fide classics.
FT Arts
The Life of a Song: (I Can’t Get No) Satisfaction
Listen to an audio version of this article, with clips from the songs
For many, it encapsulates not only the band but also the whole decade. When the BBC adapted Malcolm Bradbury’s The History Man and wished to show the anti-hero, Howard Kirk, as a swaggering sexist out of his time, this was the song they put on his record player. It also marked the point at which Brian Jones, the band’s founder, became peripheral to the Rolling Stones’ future — even though it was he who insisted it should be a single.
Half a century later, the song is still central to the Stones’ sets: generally, it marks the point at which their concerts come to life. Satisfyingly enough, Jagger recently became a father for the eighth time at the age of 73.
Cover versions of “Satisfaction” abound: Britney Spears, Samantha Fox and Vanilla Ice have all weighed in. For such a celebrated song, though, surprisingly few covers come from actual heavyweights. Otis Redding’s is at best an approximation of the lyrics, but he does have the bright, punchy horns of which Richards had dreamt. Devo, the Akron-based surrealist provocateurs, recorded a spiky, angular stab. Aretha Franklin, uncharacteristically, missed the point by sounding all-too satisfied.
More recently, at the Brit Awards in 1994, Polly Jean Harvey and Björk performed the song as a duet for ego and id. Björk was at her most gamine, Harvey at her most androgynous. Taking the lead vocal, Harvey flattened out the melody even more resolutely than Jagger, and slowed the guitar line down to a brutally-clipped dry strum. Björk’s backing vocals grew from growl to shriek, sounding increasingly unhinged. Once again, so many years on, the song sounded positively dangerous.
The Life & Arts team would love to hear more from our readers. What are your thoughts on “Satisfaction”? Let us know in the comments below
Photograph: King Collection/Photoshot/Getty Images
In the mid-1960s there must have been something in the pillows. Famously, the melody of “Yesterday” came to Paul McCartney in a dream. Early in 1965, in a Florida hotel, inspiration similarly struck a slumbering Keith Richards in the form of a five-note guitar riff. Waking, he hastily recorded it on reel-to-reel tape; then he went back to sleep.
Richards took the tape (two minutes of playing, he would say later, “then me snoring for 40 minutes”) to his bandmates and asked them the same question McCartney posed to his: was this an original fragment or simply cryptomnesia, a non-attributed memory? Slight chimes with Martha and the Vandellas’ “Nowhere to Run” aside, the riff was original enough and powerful enough to make a song.
Richards laid down fuzzed guitar as a marker for where he thought a Motown-style horn part should run. Rare stereo versions separate out the guitar lines so that you can hear the distorted line and an acoustic one run in tandem (and reveal Jack Nitzsche’s piano); in the mono brutality of the released version the two become one. The guitar line comes and goes — at times it drops out so that the beat is kept solely by handclaps and drums hard on the beat, and then the riff nags back in.
The lyrics are often read as referring specifically to sexual frustration, Jagger rhyming “satisfaction” with “girl reaction” (it sounds as if he is singing about “girly action”, which is even worse), but the subject matter is wider than that. Most of the song is a rejection of the white heat of consumerism — an advertiser tells the narrator how white his shirts could be, and which brand of cigarette he should smoke. Jagger’s verses are, literally, one note, a sort of drawled proto-rap, which makes the diminished arpeggio of the chorus all the more striking: a form of release that simultaneously bemoans its own lack of release.
The sexual references in the third verse guaranteed the kind of controversy on which the band thrived, setting them up for censorship on television and radio and sending fans to the shops for a potent hit of danger. “Satisfaction” was the Stones’ first American number one. It marked the point at which they moved away from being rhythm’n’blues copyists to the creators of bona fide classics.
FT Arts
The Life of a Song: (I Can’t Get No) Satisfaction
Listen to an audio version of this article, with clips from the songs
For many, it encapsulates not only the band but also the whole decade. When the BBC adapted Malcolm Bradbury’s The History Man and wished to show the anti-hero, Howard Kirk, as a swaggering sexist out of his time, this was the song they put on his record player. It also marked the point at which Brian Jones, the band’s founder, became peripheral to the Rolling Stones’ future — even though it was he who insisted it should be a single.
Half a century later, the song is still central to the Stones’ sets: generally, it marks the point at which their concerts come to life. Satisfyingly enough, Jagger recently became a father for the eighth time at the age of 73.
Cover versions of “Satisfaction” abound: Britney Spears, Samantha Fox and Vanilla Ice have all weighed in. For such a celebrated song, though, surprisingly few covers come from actual heavyweights. Otis Redding’s is at best an approximation of the lyrics, but he does have the bright, punchy horns of which Richards had dreamt. Devo, the Akron-based surrealist provocateurs, recorded a spiky, angular stab. Aretha Franklin, uncharacteristically, missed the point by sounding all-too satisfied.
More recently, at the Brit Awards in 1994, Polly Jean Harvey and Björk performed the song as a duet for ego and id. Björk was at her most gamine, Harvey at her most androgynous. Taking the lead vocal, Harvey flattened out the melody even more resolutely than Jagger, and slowed the guitar line down to a brutally-clipped dry strum. Björk’s backing vocals grew from growl to shriek, sounding increasingly unhinged. Once again, so many years on, the song sounded positively dangerous.
The Life & Arts team would love to hear more from our readers. What are your thoughts on “Satisfaction”? Let us know in the comments below
Photograph: King Collection/Photoshot/Getty Images
Re: The Financial Times write about Satisfaction
Posted by:
dmay
()
Date: May 23, 2017 02:20
Man. oh man. I've read some booshee re Stones songs, but this is its own trip. Ya either dig the original "Satisfaction"for the beat and the rhythm/rhyme of the words that accompany the beat or ya don't. Ya either understand it as a commentary about life and your own satisfaction or ya don't. And I love the thing about pillows. So, can we say the song, "Send Me The Pillow You Dream Upon" is right up there with "Satisfaction"? I don't think so.
Re: The Financial Times write about Satisfaction
Posted by:
Koen
()
Date: May 23, 2017 04:31
Quote
Casino Boogie
Early in 1965, in a Florida hotel, inspiration similarly struck a slumbering Keith Richards in the form of a five-note guitar riff. Waking, he hastily recorded it on reel-to-reel tape; then he went back to sleep.
I don't think it happened in Florida?
Re: The Financial Times write about Satisfaction
Posted by:
Doxa
()
Date: May 23, 2017 09:21
Nice to see that reference of da riff is finally noticed being "Nowhere To Run", and not "Dancing In The Street", as it is oddily decades claimed by music journalism. The writer might have read IORR...
- Doxa
- Doxa
Re: The Financial Times write about Satisfaction
Posted by:
Rockman
()
Date: May 23, 2017 09:23
GREATEST 45 RPM single ever .............
ROCKMAN
ROCKMAN
Re: The Financial Times write about Satisfaction
Posted by:
Redhotcarpet
()
Date: May 23, 2017 09:44
Quote
Doxa
Nice to see that reference of da riff is finally noticed being "Nowhere To Run", and not "Dancing In The Street", as it is oddily decades claimed by music journalism. The writer might have read IORR...
- Doxa
I noticed that and the author probably took notice of the Nowhere to run reference thanks to iorr. It is not just the riff that is similar. I think they just used the song as a template for Satisfaction. Yesterday is clearly based on Georgia on my mind.
Re: The Financial Times write about Satisfaction
Posted by:
LongBeachArena72
()
Date: May 23, 2017 09:48
Jesus, that PJ Harvey/Bjork duet is killer--reminds me how good this song is when performed by singers who give a shit.
[vimeo.com]
[vimeo.com]
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 09:50
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Re: The Financial Times write about Satisfaction
Posted by:
Doxa
()
Date: May 23, 2017 10:31
Quote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 10:38
Quote
DoxaQuote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
Re: The Financial Times write about Satisfaction
Posted by:
Doxa
()
Date: May 23, 2017 11:24
Quote
DandelionPowdermanQuote
DoxaQuote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
You count.. but you still play with three notes...
- Doxa
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 12:11
Quote
DoxaQuote
DandelionPowdermanQuote
DoxaQuote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
You count.. but you still play with three different notes...
- Doxa
Re: The Financial Times write about Satisfaction
Posted by:
JumpinJimF
()
Date: May 23, 2017 12:43
Quote
Rockman
GREATEST 45 RPM single ever .............
There is truth and wisdom in what you say, o Rockman
Here's my copy. Seems to be a 1965er but not a rare one. More satisfying was that it only cost £1 in a charity shop a year or two ago.
Re: The Financial Times write about Satisfaction
Posted by:
Doxa
()
Date: May 23, 2017 14:10
Quote
DandelionPowdermanQuote
DoxaQuote
DandelionPowdermanQuote
DoxaQuote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
You count.. but you still play with three different notes...
- Doxa
Haha... this, if anything ever, is a question of semantics... (I guess we both know what the other means by the words here, but pretty hard to understand what the writer means by that five notes...
)- Doxa
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 14:21
Quote
DoxaQuote
DandelionPowdermanQuote
DoxaQuote
DandelionPowdermanQuote
DoxaQuote
DandelionPowderman
Satisfaction is an eight note-riff. Apart from that, it was a good read - thanks
Haha... and I thought it was a three note riff... (but I know what you mean)
- Doxa
Yeah, we can't just stop counting after THOSE notes
You count.. but you still play with three different notes...
- Doxa
Haha... this, if anything ever, is a question of semantics... (I guess we both know what the other means by the words here, but pretty hard to understand what the writer means by that five notes...
- Doxa
He means «da-da. da-da-da», instead of including it all: «da-da. da-da-da. da-da-da-da».
After that, a new round with the same starts
Re: The Financial Times write about Satisfaction
Posted by:
TheflyingDutchman
()
Date: May 23, 2017 14:25
I'm a bit amazed about DP's miscalculation here
It is a 10 note riff built on three different tones, not 8. 5 Notes ascending, 5 notes descending. The first 5 notes lead to tension, the other 5 to release. It is perfectly symmetrical. Genius.
It is a 10 note riff built on three different tones, not 8. 5 Notes ascending, 5 notes descending. The first 5 notes lead to tension, the other 5 to release. It is perfectly symmetrical. Genius.
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 14:43
Quote
TheflyingDutchman
I'm a bit amazed about DP's miscalculation here
It is a 10 note riff built on three different tones, not 8. 5 Notes ascending, 5 notes descending. The first 5 notes lead to tension, the other 5 to release. It is perfectly symmetrical. Genius.
Well, I guess we both have to count again: It's 9!
[www.youtube.com]
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 14:45
I wrote 9 «da's», btw
Re: The Financial Times write about Satisfaction
Posted by:
TheflyingDutchman
()
Date: May 23, 2017 14:54
Quote
DandelionPowdermanQuote
TheflyingDutchman
I'm a bit amazed about DP's miscalculation here
It is a 10 note riff built on three different tones, not 8. 5 Notes ascending, 5 notes descending. The first 5 notes lead to tension, the other 5 to release. It is perfectly symmetrical. Genius.
Well, I guess we both have to count again: It's 9!
[www.youtube.com]
Nope, it is 10.
Da Da Da Da Da Ascending Da Da Da Da Da Descending. Etc.
It is the ultimate way of musical mass media brainwashing after all those years, musical terrorism so to speak.
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 14:58
Quote
TheflyingDutchmanQuote
DandelionPowdermanQuote
TheflyingDutchman
I'm a bit amazed about DP's miscalculation here
It is a 10 note riff built on three different tones, not 8. 5 Notes ascending, 5 notes descending. The first 5 notes lead to tension, the other 5 to release. It is perfectly symmetrical. Genius.
Well, I guess we both have to count again: It's 9!
[www.youtube.com]
Nope, it is 10.
Da Da Da Da Da Ascending Da Da Da Da Da Descending. Etc.
It is the ultimate way of musical mass media brainwashing after all those years, musical terrorism so to speak.
You're wrong this time. The last «Da» simply isn't there, if you listen carefully.
Re: The Financial Times write about Satisfaction
Posted by:
TheflyingDutchman
()
Date: May 23, 2017 15:09
Checked your track, it's ten, and this reliable site which says 10 as well:
[www.songsterr.com]
We won't get offered a job by the Financial times, lol.
[www.songsterr.com]
We won't get offered a job by the Financial times, lol.
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 15:28
Not in the opening riff: Da-Da. Da-da-da. Da-da-da-da.
Re: The Financial Times write about Satisfaction
Posted by:
TheflyingDutchman
()
Date: May 23, 2017 15:38
Quote
DandelionPowderman
Not in the opening riff: Da-Da. Da-da-da. Da-da-da-da.
https://
And then it starts again, as on the original release, that's 10 to me, he he.
Edited 1 time(s). Last edit at 2017-05-23 15:39 by TheflyingDutchman.
Re: The Financial Times write about Satisfaction
Posted by:
DandelionPowderman
()
Date: May 23, 2017 15:50
It's not what he plays. All the sheets in the world can't help you with this one. Listen. And count 
Re: The Financial Times write about Satisfaction
Posted by:
TheflyingDutchman
()
Date: May 23, 2017 16:04
Quote
DandelionPowderman
It's not what he plays. All the sheets in the world can't help you with this one. Listen. And count
Yes, that's what he plays as well! Go back to youtube, press the white (HD) button, go to speed and press x 0,5. Then you clearly hear that after the 9th note he makes a slide down to note 10 , string 5 fret 2. And then the riff starts again.It would sound very silly to leave that 10th note out. If you don't hear it at half speed, same pitch it is the end of the story for me.
Edited 2 time(s). Last edit at 2017-05-23 16:18 by TheflyingDutchman.
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