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Rare Special limited edition reissue color vinyl. Amazing sound like never before!

SATISFACTION/SPIDER AND THE FLY/UNDER ASSISTANT WEST COASTPROMO MAN 55th Anniversary edition of the Rolling Stones monster hit 1965single.

The B-side features both the US and UK b-sides of Satisfaction:"The Under Assistant West Coast Promotion Man" and "The Spiderand the Fly." The artwork recreates the original artwork of the 7-inchsingle.

 This numbered 12-inchversion of the single on 180-gram was pressed on emerald-colored vinyl.

12” color vinyl 45 RPM, Single, Numbered, Reissue, Emerald,180 Gram, 55th Anniversary Edition. Released on December 11, 2020 in commemorationof 55 years of the Rolling Stones iconic “(I Can’t Get No) Satisfaction.” MasteredBy, Lacquer Cut By – Carl Rowatti for ABKCO Records.

The Rolling Stones 1965 single "(I Can't Get No)Satisfaction" was their first #1 hit in the U.S.

This is the 55th Anniversary limited edition in amazingsound (like never before)! This numbered 12-inch version of the single on180-gram emerald-colored vinyl. The B-side consists of both original U.S. andUK “Satisfaction” flip sides: “The Under Assistant West Coast Promotion Man”and “The Spider and the Fly,” respectively. The sleeve is a recreation of theoriginal 7-inch single artwork.

On May 10th, 1965 the Rolling Stones beganrecording their signature tune "(I Can't Get No) Satisfaction" atChicago's legendary Chess Studios. Co-writer Keith Richards beganwriting the song in the early hours of the previous May 7th, while the groupwas on tour in Clearwater, Florida. In the middle of the night, Richards wokeup with the distinctive eight-note riff in his head and recorded it on aportable tape recorder he traveled with. According to Richards, the actual tapecontains 15 seconds of the song's riff and "40 minutes of him snoring."

The next morning, Richards played the demo to MickJagger with the simple instructions that, "The line that goes withthis riff is 'I can't get no satisfaction.'" Jagger immediately wrote aset of lyrics that were considered risqué for 1965. He recalled to the BBCthat, "The lyrics to this were truly threatening to an older audience.This song was perceived as an attack on the status quo."

When the group began sessions for the song on May 10th atChicago's Chess Studios — where their idols Chuck Berry, Bo Diddley and Howlin'Wolf had recorded their classic hits — Richards experimented with a newGibson Fuzz Box for his guitar. He had originally intended for a horn sectionto supply the song's introduction, but it was the rest of the band — which thenincluded the late Brian Jones on guitar, bassist Bill Wyman, anddrummer Charlie Watts — that convinced him to keep the "fuzzguitar" on the track despite Richards' fear that it sounded "toogimmicky."

Years later, Richards said that he originally thought the songwould only be good for use as an album track, admitting to author PhillipNorman that, "I never thought it was commercial enough to be asingle."

"(I Can't Get No) Satisfaction" debuted onthe Billboard Top 40 on June 19th, 1965, and on July 10th it hitNumber One, topping the charts for four weeks.

The song would remain a live staple for the group until1972, it was retired from live performances until 1981. The group opened themajority of their 1997-1998 Bridges To Babylon Tour with "(ICan't Get No) Satisfaction," marking the first time the song was notperformed as a concert's closing number or as an encore.

Well over 50 years after being pegged the bad boys of rock,Mick Jagger admits that the Rolling Stones were particularly mellow seeing ashow crazy the rock world became by the end of the 1960's: "Inthose days, what the press portrayed as wild, was actually in our world now,quite tame, y'know? But, for those days people were very easily shocked.You've got to remember it was still a very shockable society there wasn't thekind of scandal mongering quite in this way as there is now, which is kind sortof scandal on a daily basis — there's a stable diet of it, I think. But theylove scandal, of course, the newspapers, so they used to play it up a lot. Soeven though we didn't do that many shocking things in the early days (laughs)people were easily shocked."

Although certain songs in their catalogue have been revampedover the years, Keith Richards explained that for the most part, he has nointerest in changing the arrangements of the Stones' greatest songs: "Alot of these things are in their time, and they belong where they belong. Andto fiddle about with them and treat them as, y'know, they're 'Mona Lisa's,' orsomething would be pointless. All the big ones and the best ones that everybodyknows, we'll leave them as they are. Y'know, I won't recall nothing and say,'We shoulda done this or shoulda done that.' Y'know, 'cause they're in theirtime and space. That's where they are."