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Rolling Stones songs: You Can’t Always Get What You Want
THE ROLLING STONES’ ICONIC MIRROR MOMENT When Mick Jagger kicks off You Can’t Always Get What You Want, he’s not just singing a catchy line—he’s putting a mirror in front of an entire generation. That opening scene? Pure Swinging London vibes fading out, a curtain closing on wild parties and endless freedom. The sixties’ perfect dream was cracking, and Jagger nails that bittersweet comedown with swagger, wit, and a touch of rock ’n’ roll truth.
We decided that we would have a soda/ My favorite flavor, cherry red…
Written by: Jagger/Richard Recorded: Olympic Sound Studios, London, England, Nov. 17 1968–March 15, 1969 Guest musicians: Al Kooper (French horn, piano), Rocky Dijon (congas), Jimmy Miller (drums), Madeline Bell, Nanette Newman, Doris Troy and The London Bach Choir (chorus) *Data taken from Martin Elliott’s book THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962-2012
More about You Can’t Always Get What You Want by The Rolling Stones
*By Marcelo Sonaglioni
The Rolling Stones’ Anthem of Lost Illusions
When Mick Jagger opened You Can’t Always Get What You Want he wasn’t just tossing out another catchy refrain—he was holding up a mirror to a generation. The opening reception scene feels like more than just a lyrical flourish; it’s a snapshot of Swinging London winding down, a curtain falling on years of nonstop excess and carefree youth. The sixties’ utopian high was cracking, and Jagger captured that sobering comedown.
Five years after (I Can’t Get No) Satisfaction he dropped another slogan, but this time the target had shifted. It wasn’t just consumer society under fire anymore; it was the realization that dreams, even those powered by rock ’n’ roll rebellion, have limits. What once sounded like endless possibility now echoed with disillusionment.
Threaded through this broader cultural reckoning, Jagger added personal notes—hints of his own world peeking through. The result? A bittersweet anthem of both public and private endings.
From Bedroom Strum to Studio Magic
Jagger: “It was something I just played on the acoustic guitar—one of those bedroom songs” Keith Richards vividly remembers walking into the studio and declaring he’d written a song. “I said, you got any verses? And he said, I have.”
Behind the Chaos of You Can’t Always Get What You Want
When the Stones kicked off recording sessions for Let It Bleed,You Can’t Always Get What You Want was the first track on the table. Mick Jagger brought the words and melody, but Keith Richards remembers reshaping it from a folky sketch into the swaggering anthem we know today. His rhythm gave the tune its heartbeat, turning a fragile idea into a stone-cold classic.
But the lyrics? They pull us straight into the turbulence of 1968. The line about “going down to the demonstration” likely nods to the violent Vietnam protest in London, where Jagger himself marched. Then there’s the Chelsea Drugstore—a real countercultural hotspot—and the mysterious “Mr. Jimmy.” Was it producer Jimmy Miller, who played a decisive role in the track’s sound?
There are actually two main ideas about who “Mr. Jimmy” in the third verse might be: I was standing in line with Mr. Jimmy / And man, did he look pretty ill…
Some believe the name points to Jimmy Miller, the Stones’ producer at the time. Others argue it refers to Jimmy Hutmaker, a familiar local figure in Excelsior, Minnesota—an artsy town near Lake Minnetonka. In fact in 1964 the Rolling Stones rolled into Excelsior on their first U.S. tour, only to flop with the crowd. Local lore says Mick Jagger later stopped at a drugstore craving a cherry coke—the real kind with cherries dropped in at the fountain.
When the shop didn’t have it, a man in line, “Mr. Jimmy,” quipped: “You can’t always get what you want.” By the Minneapolis gig, he was in the audience—rumored to have arrived by limo. Known around the community as “Mr. Jimmy,” Hutmaker was a quirky character who often spoke to himself, walked long distances daily, and, despite some disabilities, was sharp and engaging most of the time. Local shopkeepers looked out for him until his passing on October 3, 2007.
And lurking in the verses, a glass-holding woman who might just be Marianne Faithfull. Together, these fragments anchor the song in both history and heartbreak, making it one of the Stones’ timeless masterpieces.
From Choirs to Counterculture: The Strange Layers of a Stones Classic
When you hear that sweeping chorus of kids on You Can’t Always Get What You Want, that’s the London Bach Choir—60 voices strong, doubled up in the mix to sound like an army. Funny thing is, once they discovered the album was called Let It Bleed and included Midnight Rambler (a track about a serial killer), they wanted their name scrubbed from the credits.
Meanwhile, another lyric rooted in real life takes us to the Chelsea Drugstore. Despite the name, it wasn’t a pharmacy at all—it was a pub on King’s Road, a hotspot pulsing with Swinging London energy. Stanley Kubrick even shot part of A Clockwork Orange there, adding to its pop culture mystique. And here’s the kicker: today, that legendary hangout, once immortalized by Jagger’s pen, serves up Big Macs instead of pints. From choirs to counterculture, the song’s history is as layered as the era itself.
The Winding Road of You Can’t Always Get What You Want
The journey of the song is as unpredictable as the lyric itself. It was first tried out during the Beggars Banquet sessions in 1968 but didn’t make the cut. The song found new life on Let It Bleed, with Al Kooper stepping in on organ and French horn—roles that might once have gone to Brian Jones, had his drug struggles not kept him away. That iconic horn note at the start? Pure Kooper. In fact an early version without the children’s choir turned up on The Rolling Stones Rock and Roll Circus, a wild TV special filmed in 1968 but left in the vault until 1996.
When the track finally emerged publicly, it slipped out as the B-side to Honky Tonk Women on July 3, 1969—a date forever marked by Brian Jones’ death. Shorter than the album cut, that single captured both the brilliance and the heartbreak of the Stones’ late-sixties era.
More from Mick: “It’s a good song, even if I say so myself. It’s got a very sing-along chorus, and people can identify with it: No one gets what they always want. It’s got a very good melody. It’s got very good orchestral touches that Jack Nitzsche helped with. So it’s got all the ingredients.”
When Jimmy Miller Took the Drums from Charlie Watts
You Can’t Always Get What You Want also holds a rare twist in Stones history—Charlie Watts didn’t play the drums. The groove was so unusual that Watts struggled to lock it down during recording. Producer Jimmy Miller, known for being meticulous about rhythm, stepped in behind the kit. He wasn’t new to lending a hand—Miller also played on Happy (from the Exile On Main St. album, 1972) and even shook the cowbell that kicks off the very Honky Tonk Women.
Al Kooper later recalled the tense moment to NPR. Watching Watts wrestle with the beat, Miller finally said, “Here, let me show you.” Watts, unimpressed, shot back, “Why don’t you play it then?” before walking out of the studio. Miller did exactly that, and the track was finished. Charlie would eventually figure out his own take, as seen in the Rock and Roll Circus video, but on the record, it’s Miller driving the rhythm of this iconic track.
Jagger Reacts to Trump’s Soundtrack Choice
After Donald Trump’s victory speech as America’s 45th President, You Can’t Always Get What You Want played as he exited the stage. Mick Jagger, clearly not amused, took to Twitter: “Just was watching the news… maybe they’ll ask me to sing You Can’t Always Get What You Want at the inauguration, ha!” A cheeky reminder that even rock legends can’t control where their songs end up.
Stones Go Virtual: Air Drums, Zoom Legends and Charlie’s Last Appearance
On April 18, 2020, the Rolling Stones delivered a truly unusual take on You Can’t Always Get What You Want for the One World: Together At Home concert, Mick Jagger, Keith Richards, Ronnie Wood, and Charlie Watts performed remotely via Zoom to support the World Health Organization during the coronavirus pandemic. Since Charlie Watts didn’t have a drum kit on hand, so he played air drums—his part was likely dubbed in later. Despite the tech hurdles, the band’s energy and signature swagger came through, proving that even a global lockdown couldn’t stop rock ’n’ roll from rolling. This was also Charlie’s last appearance with the band, who passed on August 24 the following year.
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