Keith admits he was looking for some opener like in Dancing In The Street by Martha & The Vandellas. Stones producer and manager Andrew Oldham encouraged his boys to embrace Motown, preferably in a Can I Get A Witness-style (Marvin Gaye). Witness had already been picked up by the Stones and Dancing In The Street would follow, that is to say: Jagger cut a version with Bowie. Jagger admitted inspiration from one of the lines in Chuck Berry's Thirty Days: "I can't get no satisfaction from the judge". Not to mention I Can't Be Satisfied by their common idol Muddy Waters.
Eddy Mitchell [as Rien qu'un seul mot]
Bubblerock [Jonathan King under one of his many aliasses]
That same Keith wanted the Stones version deeply soulful with horns and stuff. He must have been jealous hearing Otis on his album Otis Blue, cut in July '65, less than a month since the Stones version came out in US. (Not in UK yet). Otis didn't even know the song (a rumour confirmed by his manager Phil Walden): Otis wasn't familiar with session leader Steve Cropper's handwriting, singing 'satisfashion' instead of 'satisfaction' all over.