The news release heralding Superior Viaduct’s reissue of the Residents’ deeply messed-up “(I Can’t Get No) Satisfaction” b/w “Loser = Weed” single contains a quotation that rang oddly familiar to me:
The Residents’ 1976 version of The Stones’ Satisfaction is nearly everything the better known version by Devo from a year later is not: Loose, belligerant, violent, truly fucked up. A real stick in the eye of everything conventionally tasteful in 1976 America. Delightfully painful to listen to thanks to Philip “Snakefinger” Lithman’s completely unhinged lead guitar and mystery Resident member’s menacing vocal, this is a timeless piece of yellow plastic.
That blurb is from Brad Laner, a member of not one but two of my favorite bands and a former Dangerous Minds contributor, and in fact, it was a DM post about five years ago—a post I happen to agree with. The Residents’ “Satisfaction” IS pretty admirably unhinged, genuinely frightening, and a righteous fuck-you to a rock canon classic that, in some circles, remains beyond sacrosanct. Contemporary with their second album, the unfuckwithable Third Reich ‘n’ Roll, which, like the single, is an unsparing deconstruction of classic radio hits, many of which were still fairly new songs at the time. “Satisfaction” isn’t on the album—the Rolling Stones are represented there by a half-reverent, half-funereal take on “Sympathy for the Devil” in the album’s coda. While it did appear on the 1988 CD reissue as an extra, along with “Loser=Weed” and a couple of Beatles travesties, the wax itself is a rare collectible, fetching in the neighborhood of $35. Superior Viaduct’s colored vinyl repress, at $9, still feels a tad spendy for a 7”, but that’s way more manageable than procuring an original. It can also be had as part of a five-record bundle with reissues by Flipper, X, the Dils and the Germs, at $40 for the whole set. (I totally want the Flipper one, too, but that’s another post.)
The Residents, “(I Can’t Get No) Satisfaction)”
Of course, DEVO’s version of the song is the one that most aggressively vies with the Rolling Stones’ original for definitive status, and how could it not? Obviously, the original is indisputably classic in every sense of the word, and after five decades, it’s still one of the most widely covered ‘60s songs this side of “Stepping Stone.” But who can really believe that song from Mick Jagger? By the song’s mid-1965 single release, he was already a gazillionaire rockstar heartthrob who probably had illegitimate children in all 48 contiguous US states, so did anyone seriously believe there was anything unsatisfying about that man’s life? For all its musical timelessness—good LORD, that riff!—the Stones’ version edges out Britney Spears’ cover for plausibility (neither singer was particularly “on a losing streak” at the time their version was released), but that’s about it. None of that does all that much to dull its effectiveness as an anthem, but I buy a song about sexual frustration and contempt for commercialism much more readily in the anxiety-ridden version by the brainy midwestern dorks in DEVO. Unlike the Residents, DEVO aren’t shooting for a takedown or a deconstruction; their version feels more like a successful effort to finally put the song in a proper context. Alan Myers’ freakishly asymmetric drum beat and Gerald Casale’s rubber-band bass line are every bit as capable of inducing existential dread in a socially insecure geek as Keith Richards’ ingenious three-note intro riff is of inducing “fuck yeahs” in a classicist, and doesn’t that speak more closely to the intent of the lyrics—not a single word of which DEVO changed?
More after the jump…