Sons of “Satisfaction”: 15 Songs (Likely) Indebted to the Stones’ Classic
Last year, “(I Can’t Get No) Satisfaction” celebrated its 50th anniversary, and remains one of the greatest singles in the history of rock. But how do you measure the importance of a record? Well, one surefire way is to note its degree of influence. That’s what the following list is all about. Here are what appear to me to be 15 direct results of the influence of “Satisfaction.” Fifteen records, mostly ones from the immediate months after the Stones’ song was a chart smash that sound as if they borrowed an idea or two or three from the Stones’ classic.
Now let me make this clear from the get-go: With the exception of the first one listed, all of these examples are merely based on my own conclusions. I am not declaring as fact that the artists or producers directly took inspiration from “Satisfaction” for the songs of theirs listed here. I’m merely giving my reasons why I think it’s possible that these records are indebted to that disc. You may agree. You may think I’m nuts. Heck, you may do both and agree that I’m nuts. Regardless, I offer the following as possible “sons of ‘Satisfaction.'”
Before we start, let’s note “Satisfaction’s” own ancestry. Keith Richards has claimed “Oh, Pretty Woman” by Roy Orbison and “Dancing in the Street” by Martha and the Vandellas as its musical influences. (Though I’ll bet anything that in the case of the latter group he really means “Nowhere to Run.” Not only do I hear more similarity, but it was a hit right at the time “Satisfaction” was composed.) Lyrically, there’s some Chuck Berry (the title) and Bob Dylan in there.
Okay, those are “Satisfaction’s” parents — now let’s meet its possible children.
1) “Uptight (Everything’s Alright),” Stevie Wonder (1965)
We’ll start with one that has actually been confirmed to have been inspired by “Satisfaction,” as Stevie had been taken by the song and wanted to incorporate its beat and feel into a new song of his own. With the help of songwriters Sylvia Moy and Henry Cosby, Stevie achieved his goal, and “Uptight,” which went up up up to #3, exemplified the spirit of this golden time of pop music, where Music Type A inspired Type B, which in turn inspired Type A right back. The point was further brought home in 1972 when Stevie Wonder toured with the Stones and on occasion came out during the band’s set for a medley that effectively combined “Uptight” and “Satisfaction.”
2) “Is This the Dream,” The Zombies (1965)
Perhaps the most melodic song on the list, the Zombies’ first post-“Satisfaction” single had a rather familiar-sounding drumbeat/tambourine blend, was in the same key, and went from that main chord of E right to an implied D on the chorus, recalling the E to non-implied-but-actually-played D of the Stones’ hit, which was actually a factor of “Nowhere to Run.” But just when I was considering the possibility that the Zombies weren’t necessarily borrowing from “Satisfaction,” but rather also taking cues straight from Martha, along came the “hey hey hey” bits.
3) “Run, Baby, Run (Back into My Arms),” The Newbeats (1965)
A year after they had their “Bread and Butter,” which got up to #2 (the Animals and Roy Orbison took turns keeping the bread from rising), and after a few minor-charting singles, the Newbeats came as close to being back into the Top Ten as they ever would with this song that also had a familiar drum beat and tempo and notable use of a bVII implication (the implied C chord on “baby” in the bits on the D chord where the title is sung). Alright, I’ll keep the music theory blurb to a minimum. Just listen; you’ll get it.
4) “Keep On Running,” The Spencer Davis Group (1965)
True, Jackie Edwards’ original recording of this song he authored, which was in all likelihood recorded before he could have heard “Satisfaction,” did have a snare-on-all-fours beat, so the song itself cannot be a cop. However, Spencer and Stevie and their pals put extra oomph and emphasis (oomphasis?) on that beat, and also added some dirty guitar and made the song more… wait for it… satisfying.
5) “Mr. Soul,” Buffalo Springfield (1967)
This came out later than all the other records on this list, two years after the release of “Satisfaction,” but the Neil Young-penned opening track of Buffalo Springfield’s second album had a neat little guitar riff that pretty much sounded like it was created under the mindset of, “Play ‘Satisfaction,’ but hit each note a few extra times.”
6) “Let’s Hang On,” The Four Seasons (1965)
By mid-1965, those Jersey boys hadn’t been way, way, way up the charts in about a year. Thankfully, around that time, their production team came upon the idea (presumably by merely turning on the radio) of adding a fuzz-toned riff to their next A-side, and the autumn 1965 release of “Let’s Hang On” hung on to the #3 position.
7) “Out of Our Tree,” The Wailers (1965)
The fuzzy intro and recurring riff of this late-1965 garage classic for the Tacoma legends should bring a certain other fuzzy intro and recurring riff to mind. Oh, and what does “Out of Our Tree” mean? Well, it means the same basic thing as Out of Our Heads. See where I’m going here?
8) “You Make It Move,” Dave Dee, Dozy, Beaky, Mick & Tich (1965)
The first post-“Satisfaction” 45 by the noted pop quintet who need no introduction (because just saying the group’s name takes care of that) has that same snare-on-all-four-beat rhythm in addition to being yet another case, so common among late 1965 singles, of “Hey, listen, everybody! We have a fuzz pedal too! Hear our fuzz pedal? Do ya, do ya?”
9) “Hold Tight,” Dave Dee, Dozy, Beaky, Mick & Tich (1966)
And in case you didn’t hear that fuzz pedal, they brought it back out on their next 45, “Hold Tight,” which not only had a fuzzy guitar riff over that same drumbeat (this time with tambourine for insurance) but was closer in tempo and in the same key as “Satisfaction.”
10) “Valleri (original version)” The Monkees (recorded 1966, released 1990)
https://youtu.be/_s5HKd1zXDA
The hit version didn’t see release until 1968, but in August 1966 an earlier version, not officially available to record buyers until 1990, was put to tape at RCA Studios in Hollywood (while the Stones were in the same building recording what became Between the Buttons) and was heard in a few first-season episodes of the television show. This version, which most Monkees fans prefer to the later take, was more guitar-based, without the brass of the second attempt, and with a fuzzy riff taking more of a starring role than it would in Plan B. The rhythm of this riff matches the “Satisfaction” riff exactly.
11) “Our Time Is Running Out,” The Yellow Payges (1967)
On this delightful disc by the Los Angeles combo, the distorted guitar riff is pretty close to the one our pal Keef played, but not as close of a melodic match as the melody sung by the backing vocalists on the chorus. Otherwise, this is perhaps the least-“Satisfaction”-like song on the list. It even modulates up… and then back down.
12) “Psychotic Reaction,” Count Five (1966)
Fuzz in the riff, an “action” word in the title and even “satisfaction” in the lyrics. Next? Well, in truth, this record owes far more to the Yardbirds than the Stones, but still.
13) “Now It’s Gone,” The Bentleys (1966)
This great record by a Pittsburgh garage combo (the members of whom were all in their mid to late 20’s but whom replicate teen angst nicely all the same) sounds like “Satisfaction” meets “Last Train to Clarksville” (which hadn’t even been recorded yet, but listen to the melody of the verses and you’ll swear they knew ahead of time what Tommy and Bobby were thinking) as sung by the Beau Brummels. The riff and chord progression of the main vamp account for the “Satisfaction” part of that equation.
14) “Day Tripper,” The Beatles (1965)
And last but not least, the ones that are gonna ruffle some feathers. How dare I suggest the Beatles took cues from the Stones, right? The Beatles, as I’m sure someone will feel the need to remind me, were bigger than the Stones so why would they take inspiration from them? (Well, weren’t the Beatles also bigger than the Beach Boys, the Byrds, the Who and the Lovin’ Spoonful, all of whom they admittedly took direct inspiration from? Anyway, if you’re the biggest band in the world, you have no choice but to be inspired by bands less popular than you, because after all, who’s left?)
Well, for all John Lennon’s claims that the Stones constantly pinched from the Beatles (and let’s face it, some of the examples John cited are on the ridiculous side. Not all, mind you, but “We Love You” a copy of “All You Need is Love”? Seriously, John?), there was certainly a fair deal of things Mick’s mob did ahead of the Fabs. Which band of the two used harpsichord on their recordings first? Which was rocking the Epiphone Casinos first? Which dared to issue albums without their name on the front cover first? Hmm? No, I’m in no way saying the Beatles copied the Stones when they did those things as well, but truth be told, had it been the other way around, John would have been quick to say as much about the Stones.
So the fact that the first Beatles single after, well, a certain Stones song, happened to be in the same key, happened to also be based around a bluesy guitar riff (oh sure, said riff has a bit lifted directly from “Watch Your Step” by Bobby Parker, but show me where there’s a rule that states a record is only allowed to be inspired by one other song), happened to have an implied bVII chord and happened to have Ringo banging out all four beats on the chorus and middle section, may have just been total coincidence.
15) “Think For Yourself,” The Beatles (1965)
https://youtu.be/4l7NM2nsk1k
However, something about the timing makes “Think For Yourself” suspect. So, Beatles, as photographic evidence shows, you’ve had access to fuzz boxes since 1963, but not until recording sessions in the direct wake of the UK hitdom of “Satisfaction” do you finally decide to use one, eh?
Do you think these 15 songs are “sons of Satisfaction”? Let us know in the comments!
