Brian Holland / Lamont Dozier / Eddie Holland / 2:58
Musicians
Mick Jagger: vocals
Keith Richards: acoustic rhythm guitar, backing vocals
Brian Jones: tambourine, backing vocals
Bill Wyman: bass, backing vocals
Ian Stewart: piano
Unidentified musician(s): hand claps
Recorded
Regent Sound Studios: February 4, 1964
Technical Team
Producer: Andrew Loog Oldham
Sound Engineer: Bill Farley
“Can I Get a Witness” is a number by the trio Brian Holland–Lamont Dozier–Eddie Holland (H.D.H.), who were inspired purveyors of hits to Berry Gordy’s record company Motown. The number was written for Marvin Gaye, who recorded it on July 17, 1963, with the Supremes, and with the Holland brothers and Lamont Dozier, no less, on backing vocals. The title of the song refers to the ritual in black churches whereby the preacher poses the question Can I get a witness? and the congregation devoutly and contemplatively responds with an Amen.
In addition to its religious dimension and the enormous subtlety and sensitivity of Marvin Gaye’s voice, the success of “Can I Get a Witness,” which peaked at number 22 on the Billboard pop chart in December 1963, rests on the boogie-woogie piano of Earl Van Dyke (a member of the famous Funk Brothers). Ian Stewart was one of Britain’s most faithful proponents of this style of piano playing. His role is therefore key to the Rolling Stones’ version, in which Mick Jagger is recast in the role of a preacher for the good cause. In fact, the Stones’ version relies even more heavily on the piano than Marvin Gaye’s. This gives it something of a Ray Charles flavor, despite being fundamentally more rock ’n’ roll. Jagger adopted a more rasping, bluesy voice with a rapid-fire delivery that makes him almost unrecognizable. Oldham explains why. He suggested that the Stones do a version of “Can I Get a Witness,” but Jagger did not know the words very well. “I called Freddy Bienstock, who published the song,” recalls Oldham, “and Mick ran from Regent Sound to pick up the sheet music left in reception at Freddy’s Savile Row office.” Upon his return, Mick rushed straight to the mic “and that’s the reason the vocal on our ‘Can I Get a Witness’ sounds so breathless.”5 The bass-drums duo lay down the perfect groove, and Keith plays rhythm on his Harmony 1270 12-string. Brian has abandoned his Gretsch and makes do (at least it is presumed to be Brian) with the tambourine. Yet Oldham, in his memoirs, mentions guitar overdubs. Does he mean Brian or Keith? Finally, the vocal harmonies are sung by Keith, Brian, and Bill. Hand claps can also be heard, no doubt overdubbed.