Chapter 19: The British Invasion
The Stones officially joined the British Invasion with their first U.S. and Canadian tour in June 1964. At that point, their single “Not Fade Away,” backed with “I Wanna Be Your Man,” had only just begun to register on the American charts. When they arrived at Kennedy Airport, only a few hundred fans greeted them—far fewer than the massive crowds that welcomed the Beatles. While the Beatles enjoyed primetime exposure on The Ed Sullivan Show, the Stones were booked on less prominent programs. Their appearance on Dean Martin’s The Hollywood Palace was notably dismissive, with Martin mocking both their music and their long hair. In Omaha, Nebraska, they played to just 600 fans in a venue that could hold 15,000. The Stones’ initial efforts to challenge Beatlemania in the U.S. largely fell flat, with the exception of a few sold-out shows at Carnegie Hall in New York City.
Despite the rough start, the tour was not without its rewards. The band made a significant stop in Chicago, the birthplace of much of their musical inspiration. There, they met legendary figures like Muddy Waters, Chuck Berry, and Willie Dixon. The Stones also recorded their cover of “It’s All Over Now” at Chess Studios, linking them directly to the rich tradition of Chicago blues.
Later in 1964, the Stones toured Europe before embarking on a more successful second U.S. tour, which included an appearance on The Ed Sullivan Show. During this tour, Mick Jagger witnessed a James Brown performance that left a strong impression on him. Inspired, Jagger incorporated Brown’s energetic dance moves into the band’s stage act, adding a new dynamic to their live shows.
The Rolling Stones’ rough, rebellious image may have slowed their acceptance in America at first. However, by late 1964, they were gaining traction. Their subsequent U.S. tours were marked by increasing popularity—and plenty of stories about their scandalous behavior—which only fueled their growing reputation as rock’s bad boys.
In late 1964, the Rolling Stones launched another American tour, which quickly gained attention not only for their music but also for their wild and often scandalous behavior. With hits like “Ruby Tuesday,” “Get Off of My Cloud,” “19th Nervous Breakdown,” and “Let’s Spend the Night Together,” the Stones firmly established themselves as the rebellious counterpart to the Beatles.
Earlier that year, in January 1965, the band released their second album, 12 X 5, which leaned heavily on the R&B and blues roots that shaped their early sound. Singles such as “Time Is on My Side” reached number six in the United States, while “The Last Time” topped the charts in the UK and entered the American top ten. By spring, the Stones had achieved an impressive feat, holding the top single, EP, and LP positions in Britain, and they were poised to make a significant impact on the U.S. market.
During their third U.S. tour in spring 1965, the Stones appeared again on prominent television programs like the Ed Sullivan Show and the youth-oriented Shindig. It was during a break in a motel room that Keith Richards began playing a catchy guitar riff, which inspired Mick Jagger to improvise lyrics on the spot. This collaboration produced “(I Can’t Get No) Satisfaction,” a song that rapidly became a number one hit. Though the lyrics sparked controversy—some interpreted them as a reference to masturbation, others to general sexual frustration—Jagger explained that the song expressed a broader sense of dissatisfaction, encompassing sexual, artistic, and spiritual frustration experienced by a band constantly on tour.
Released in the summer of 1965, “(I Can’t Get No) Satisfaction” marked a major step forward in the Rolling Stones’ songwriting and musical direction. Built around a now-iconic guitar riff by Keith Richards, the song opens with a simple melodic figure that gradually builds as bass, drums, and acoustic guitar enter. Richards originally recorded the distorted riff using a Gibson Maestro fuzzbox—a small effects unit that alters the guitar’s signal to create a gritty, buzzing tone—intended as a placeholder for a planned horn section. The horns were never added, and the fuzz-laden guitar line became the song’s defining hook.
The song is structured in verse-chorus form, with each section anchored by the relentless repetition of the central riff. Jagger’s vocal delivery shifts between weary cynicism and explosive frustration. In the verses, he critiques the empty promises of modern consumer culture—“useless information” on the radio and a TV ad man who “can’t be a man ’cause he doesn’t smoke the same cigarettes as me.” The lyrics also gesture toward the personal toll of fame, touching on themes of sexual rejection, fatigue, and emotional detachment on the road. The line about not getting any “girl reaction” drew controversy for its suggestive implications, prompting TV censors to alter the lyrics for the band’s appearance on Shindig!.
Musically, the song’s power lies in its economy. The driving rhythm, fuzz-drenched riff, and escalating vocal energy generate tension without relying on complexity. In its final seconds, Jagger can be heard improvising a few bluesy vocal lines, a nod to the band’s roots in American rhythm and blues. The track closes with a quiet repetition of the refrain, abruptly ending in a final shouted phrase that fades out. At the time, the song’s defiant lyrics and raw sound unsettled more conservative listeners. “Satisfaction” was widely perceived as a challenge to the cultural status quo, reinforcing the Stones’ reputation as dangerous, provocative, and unapologetically modern.
Behind the scenes, the Rolling Stones’ business operations began to shift with the arrival of Allen Klein as their new business manager. His appointment allowed Andrew Loog Oldham to focus more fully on the band’s creative direction. Klein, already known for managing prominent acts like the Animals, Donovan, and Herman’s Hermits, brought a reputation for aggressive deal-making and sharp financial acumen. While effective, his cutthroat approach made him a controversial figure. Stones biographer Philip Norman quipped that “a piranha might conceivably have the edge in politeness.” Despite resistance from Oldham’s partner, Eric Easton, Klein’s control over the band’s business affairs quickly grew, sparking legal disputes and adding tension to the group’s internal dynamics.
In December 1965, the Rolling Stones released December’s Children (And Everybody’s) just in time for the holiday season. The album featured “Get Off My Cloud,” a chart-topping single that further cemented the band’s rising prominence. Yet behind the scenes, Brian Jones’s personal decline was accelerating. Though he had been the group’s original artistic leader, his influence diminished as Jagger and Richards took creative control through their increasingly successful songwriting partnership. Still, Jones remained essential to the band’s early sound, contributing slide guitar, harmonica, and other instrumental textures that deepened their blues interpretations. As his drug and alcohol use escalated, Jones began missing sessions—including the one for “Satisfaction.” Contemporary accounts describe his home filled with hashish and marijuana, and his behavior turning erratic. He grew paranoid, convinced the other band members were conspiring against him. The introduction of LSD worsened his condition; on one occasion, he refused to enter the studio, claiming it was infested with black beetles.