[CROWD NOISE] MALE SPEAKER: And now, ladies
and gentlemen, it's the Rolling Stones! [AUDIENCE CHEERING] [MUSIC - THE ROLLING STONES,
"DANCING WITH MR. D"] KEITH RICHARDS: I was always
very nervous with the Stones, or at least I felt the Stones
were very nervous. So that, if they knew they were
being recorded, then they start to treat the show like
a recording session and you wouldn't get that live
thing sometimes. So what's interesting about
these bootlegs is the band don't know they're being
recorded, so they don't give a shit and they're just-- they're
playing what they're playing and you get
a natural feel. And that's, to me, what's
interesting about this sort of interesting live
music as well. I was impressed very much
with the Brussels one, particularly. I'd very rarely heard the Stones
that early on, playing live and that well recorded. [MUSIC - THE ROLLING
STONES, "ANGIE"] KEITH RICHARDS: "Angie" is
coming in there, and then "Heartbreaker," "Goats
Head Soup" is already coming in to the thing. There's a mixing and-- Oh, we're going to play
some [BELGIAN] because Mick's-- Belgian is fantastic. MICK JAGGER: Thank you. [SPEAKING BELGIAN] KEITH RICHARDS: On that Brussels
show, I thought Mick was doing an incredible job. I mean, he always does, but
listening to it from retrospect. And I thought he was handling
it amazingly well. We were hitting in some
very fast tempos. [MUSIC - THE ROLLING STONES,
"HEARTBREAKER" And speed on tempo is not
usually my thing, but sometimes when energy starts to
build up, adrenaline starts to build up towards
the end of A show. I can't believe we taking
it at this clip. Poor Charlie! Mick was doing an
incredible job. It didn't phase him. MICK JAGGER: It's
a good turnout. Billy Preston was
on this tour. And a bright horn section that
we nicked off Stevie Wonder. Steve Madaio and Trevor
Lawrence. And Bobby Keys was in the
section with Steve and Trevor. Trevor Lawrence-- he played on one of my favorite
Marvin Gaye albums, Trouble Man. Don't know if you
know this album. Duh nuh. Va da dah! [MUSIC - THE ROLLING
STONES, "HAPPY"] KEITH RICHARDS: I was amazed at
Bill Wyman's bass playing. And the way Charlie and Bill
were locking in was-- it was a revelation, actually. It was obviously a
very good show. Taylor and I had pretty much-- I could almost see ourselves
going, mm-hmm, across the stage and I thought,
yeah, you got that. However, towards the end of it,
I wondered what the rest of the band were on, because
things were really starting to rock at a ferocious pace. The thing is, when I
was listening to it, I kind of, just-- man, that was the '70s. It felt the way it was. The audience-- they say there's a
great sloppiness about in between songs. There was one-- MICK JAGGER: Tune up. Tune up. Aye aye? KEITH RICHARDS: But later
on, timed it up and got it more pro. But in a way, I kind of like
the relaxed attitude. I did it a little freer and
easier in the '70s to get away with murder. MICK JAGGER: We're gonna do
a couple of new songs. [SPEAKING BELGIAN] First one's called
"Starfucker." KEITH RICHARDS: I don't know--
you can't say fucker anymore. [MUSIC - THE ROLLING STONES,
"STARFUCKER"] MICK JAGGER: The funny thing
about this show, though, was-- well, it wasn't really
funny, but-- it was kind of a small
place, relatively. So we did two shows there. So it was quite a short
set, I suppose. So we said, OK, we have
to do two short sets. So we did an afternoon and an
evening performance in this [? foreign ?] [? national ?] place. This recording is from
the evening show. I dunno, was it the afternoon? [MUSIC - THE ROLLING STONES,
"GIMME SHELTER"] It sounds a bit early
to be doing this. KEITH RICHARDS: [INAUDIBLE] Take the afternoon show
as a run-through. MICK JAGGER: I never liked
doing afternoons much. KEITH RICHARDS: But sometimes,
they're some of the best shows, too. And sometimes, you get the band
plays freer and a little looser and some more
ideas come out. MICK JAGGER: Once you get out
there, it's all the same. [MUSIC - THE ROLLING STONES,
"BROWN SUGAR"] MICK JAGGER: LA Forum, 1975. The opening promotion gag of the
tour was one of the best-- my favorite gag was we went
down Fifth Avenue on a flatbed truck. [MUSIC - THE ROLLING STONES,
"BROWN SUGAR"] MICK JAGGER: And played whatever
song we played. "Brown Sugar," probably,
or something. I don't remember. Obviously, people looked as they
passed, but then they all didn't really care that much and
sort of gave it a glance for a minute. [MUSIC - THE ROLLING STONES,
"BROWN SUGAR"] MICK JAGGER: The journalists
that we hoped to cover this story of us playing outdoors
weren't told about this and they were put into a
sort of [? bomb. ?] As we came near, they were told
to go outside and look. [MUSIC - THE ROLLING STONES,
"BROWN SUGAR"] MICK JAGGER: I want
to sing "Happy." This show's at the LA Forum,
which I always remember-- when it opened, it no longer
is like this-- the guys that showed
you to your seats were dressed in togas. Because it was the
LA Forum, get it? And the togas had little
sparkly bits on. It was very nice. Twee. KEITH RICHARDS: And here was
some weird dress codes in those days. MICK JAGGER: The first of all
are the desperate tune-up twinsies, Ronnie Wood, guitar. It's the first show
with Ronnie Wood. And he played very
well on this. It's obviously very different,
but there's quite a lot of time between playing on stage
with Mick Taylor and then playing with Ronnie Wood. It was a big adjustment. KEITH RICHARDS: I never found it
tricky to play with Ronnie. Different. And like it is-- you play with any other player,
it is different. Mick Taylor is a spectacular
lead player. Before that, when I worked with
Brian Jones, we were more interlocked. It was more rhythm and lead. He wasn't that separation
everything. With Mick Taylor, there
was more separation between rhythm and leads. At least live. Not so much on record,
but on live-- and quite rightly so,
because he was beautifully fluent player. And it also gave me a chance
to sit down on those riffs. And those, I love to do. I love a good riff to sit on. Ronnie is kind of a mixture
of the two. [MUSIC - THE ROLLING
STONES, "HAPPY"] KEITH RICHARDS: Ronnie had a lot
of the same qualities that I worked with Brian Jones. Which is a more interlocking
way of playing, but he's also-- has some very nice bottlenecks
and lead style as well. So, Ronnie's in between
Mick Taylor and Brian. I mean, I'd just sit there and
hammer out the chords. And try and give them a push. After all, I wrote them. [MUSIC - THE ROLLING STONES,
"IT'S ONLY ROCK N ROLL"] MICK JAGGER: On this tour, the
album we'd had out previously was "It's Only Rock N Roll,"
so we were doing that. "It's Only Rock N Roll." [MUSIC - THE ROLLING STONES,
"IT'S ONLY ROCK N ROLL"] KEITH RICHARDS: And that
basically made for stage, really, that song. The thing with tours is always
that you're always going out behind an album, as well. Generally speaking. You write a song and within
a week or so, you've recorded it. And in actual fact,
it's still a baby. Because, until you've taken it
on stage, and run it around the boards, and put it through
an audience, and got the feedback, and all that,
it's not fully grown. And some are great
record songs. And others are great
live songs, too. You could always feel,
especially at the beginning of a tour, there's certain
tension between that. And eventually, you find out
which ones stick and which ones don't. And which one will oil in and
which one are you gonna have to work at live. You have to put them out there
and see how they go. And also, you've got to
see, especially, how Mick feels about it. MICK JAGGER: I'll tell you who's
playing with us tonight. On keyboards, we got
Billy Preston. [MUSIC - THE ROLLING STONES,
"OUTTA SPACE"] MICK JAGGER: We had Billy
Preston playing with us. That was fantastic. I used to go off and Billy would
do whatever couple of tunes he would do. "Will It Go Round In Circles,"
"Outta Space." This was the early days of synthesizer
stuff. So a lot of people hadn't really
heard this kind of thing played live. [MUSIC - THE ROLLING STONES,
"OUTTA SPACE"] I would tease him a lot
about his wigs, which he didn't like. He took it in really good humor,
but he didn't like it, so I had to restrain myself. I had a lot of jokes,
when I introduced him, about his wigs. Because he had so many
different ones. And, of course, I saw them. And I would know which
ones [INAUDIBLE]. He would ask me if this
one looked all right. We also had a percussion player
called Ollie Brown, who played with us, who
played with Billy. And we had Steve Madaio, horn
section with Bobby Keys and Trevor Lawrence. KEITH RICHARDS: We always had
very, very strong ties with the Chicago blues guys. And Howlin' Wolf was
one of them. Chester, which is
his real name. We didn't go, rather-- I say Howlin', Howy, then. [INAUDIBLE] --is Ches. I mean, icon. "Smokestack Lightning" and
"Little Red Rooster." I actually had first met him on
a Jack Good "Shindig!" show, like 1964 or '65. Some TV show. And that's where we first
met each other. And we're the only other act
on that TV show that knew anything about the blues
and we had a rapport. Later on, I once went to a party
at Muddy Waters' house. And miraculously, woke up
at Howlin' Wolf's house. And I still have no idea
how that happened. Obviously, some kind friends
had transported me. [MUSIC - THE ROLLING STONES,
"UNDER MY THUMB"] MALE SPEAKER: Hampton,
West Virginia. We thank you so very
much for waiting. Would you welcome, please,
The Rolling Stones! MICK JAGGER: This show's
from Hampton, Virginia. And it's a coliseum. It's like an arena. And it was from a show we did--
it was a pay-per-view television show. And it was quite nerve-wracking,
doing the TV show, to be honest. So that's early pay-per-view
stuff. I'm not sure how many people
actually were able to watch it on pay-per-view, because
pay-per-view was notoriously impossible to get. But it didn't come out in any
other format, I don't think. But it was a good gig. We did two nights there, so we
filmed playing both nights. [MUSIC - THE ROLLING STONES,
"JUST MY IMAGINATION"] KEITH RICHARDS: That was where
the guy ran on stage, right? And security was a bit slow. And I saw some guy heading
straight for Mick. [MUSIC - THE ROLLING STONES,
"TWENTY FLIGHT ROCK"] KEITH RICHARDS: I saw nobody
between him and Mick. I thought, Oh god, here we go. I'm not going to get any
more money for this. I have no idea what this
guy's going to do. I don't know if he's going to
stab Mick, hug him, kiss him, roll him over and screw
him, I don't know. All I know is that he's trying
to get his hands on Mick and this I have to prevent. And I do have a weapon
in my hands. [MUSIC - THE ROLLING STONES,
"SATISFACTION"] KEITH RICHARDS: That
Telecaster's a real handy swacker. And I just took it off. And I saw that he was definitely
going for Mick and nobody else was going to get
in the way, so I just swung it, and caught him
right there. And did no damage. I mean, I wasn't trying to smash
the guy up or anything. I just wanted him
out and down. He fell into Charlie's
drum kit. That didn't stop Charlie
playing. By then, the guys had grabbed
him, so I put the guitar back on. I was playing "Satisfaction"
at the time-- and this is going to sound terrible-- the
damn thing had stayed in tune. And this is the greatest
advert for Fender. [MUSIC - THE ROLLING STONES,
"SATISFACTION"] MICK JAGGER: We had the "Tattoo
You" album out. "Black Limousine," "Neighbors," "Hang
Fire," "Waiting on a Friend," quite a few from that album. KEITH RICHARDS: I had some great
shows making up some of these songs. [MUSIC - THE ROLLING STONES,
"WAITING ON A FRIEND"] And some of the tracks, even
though there is [INAUDIBLE], I'm sure that was cut for the
other album, that then trickled over into another. We know we're making an album,
but it's not that it stops and starts, like these are the
ten songs and that. You record and you record, until
you actually turn around and say, I've got
no more ideas. And so one album can easily
bleed into another, without you even being aware of it. [MUSIC - THE ROLLING STONES,
"START ME UP"] We'd laid down "Start Me
Up" five years earlier. And it had slipped
through the net. I think it was something to do
with the fact that, at the time, Mick and I were sure that
"Start Me Up" definitely was a reggae song. And we did it reggae style,
I don't know, 40 50 takes. "Start me up. Start me up and baby--" and
somewhere there was a break and I laid in with Charlie
the one we all know now. [MUSIC - THE ROLLING STONES,
"START ME UP"] And then it laid dormant for
five years, and then suddenly, they pulled it out of the can. How did we forget that, man? The media went to work on it. [MUSIC - THE ROLLING STONES,
"START ME UP"] I realized then it was
one of those riffs. Where even then I didn't think
it was going to become-- because it became something
more than you can expect, in the end. A sports anthem. It became an anthem for
so many other things. And of course, no, you don't
expect those things. A good riff's a good riff and
I'll give it a good whack. [MUSIC - THE ROLLING STONES,
"SATISFACTION"] MICK JAGGER: And we built a
special stage that night for it, which had these enormously
long walkways, where it went all the way up the top of the
arena and around to the back. I don't know, I think I
went up there once. I didn't really know
how to work it. [MUSIC - THE ROLLING STONES,
"SATISFACTION"] KEITH RICHARDS: They were
getting bigger and bigger, throughout that period. The stage sets, the size of
the audience is getting bigger, and also, technology was
getting to where it could actually handle it. The idea of a monitor, a few
years before that, where you could hear yourself,
was unbelievable. Probably mostly for the better,
but sometimes the technology was coming so fast,
it was almost hard to digest. [MUSIC - THE ROLLING
STONES, "LET'S SPEND THE NIGHT TOGETHER"] MICK JAGGER: Roundhay
Park, Leeds, 1982. A very large gig. I remember it being
a lot of people. I don't know how many
people, really. It sort of stretched on. KEITH RICHARDS: With
a crowd that size-- imagine if they were angry
or didn't like it. With all this energy,
what could happen? People in a bunch, if they're
really enjoying themselves, they pass that energy
back to you. So there's this kind of weird,
electromagnetic transference of energy that goes on. And with a crowd that size,
it is quite amazing. Especially in the afternoon. [MUSIC - THE ROLLING STONES,
"YOU CAN'T ALWAYS GET WHAT YOU WANT"] MICK JAGGER: It was
a fantastic show. I remember, it was very,
very beautiful. This sort of melancholic, sort
of silver-gray sky back. It went on toward evening. I really enjoyed that one. But it was the last show
of the tour, which always feels a bit odd. There's always something
very odd about it. It was very melancholic
at the end. KEITH RICHARDS: You want to give
it your all and give it the best because you know after
this, you can flake out as long as you want. And also, you know you're going
to be missing a lot of friends, because you've been on
the road with everybody for 18 months, two years. You get used to this family
that you're living with. There's a heightened solace
or emotion, in a way, in the last show. [MUSIC - THE ROLLING STONES,
"YOU CAN'T ALWAYS GET WHAT YOU WANT"] MICK JAGGER: It was the last
show that we did with Ian Stewart, who never played
us after this. And he died a couple
years afterwards. [MUSIC - THE ROLLING STONES,
"YOU CAN'T ALWAYS GET WHAT YOU WANT"] MICK JAGGER: Slightly strange
set list, in my opinion, looking back on it. What was I thinking? [MUSIC - THE ROLLING STONES,
"GOING TO A GO-GO"] Normally when you play a big
outdoor show, you play it very safe, because you get the
biggest common denominator. So if you play too many obscure
songs, people go, wha? They get a bit lost, and you get
a lot of blank faces and everything. Quite awful. [MUSIC - THE ROLLING STONES,
"GOING TO A GO-GO"] There was a few odd ones in
here, we played "Going to a Go-Go." Stuff like "Let
Me Go," which is a bit obscure, also. "Twenty Flight Rock," a cover
version of Eddie Cochran, which I think we'd done it
before, but nevertheless it wasn't much played. And to play that in this
kind of set-- very odd. It's all good things, but I'm
kind of surprised to see it on the Roundhay Park set
list, to be honest. [MUSIC - THE ROLLING STONES,
"TWENTY FLIGHT ROCK"] KEITH RICHARDS: Eddie was-- he skimmed very, very
fine lines. Masterpieces of songwriting,
just tiptoeing on the line of going over the top. That's what I call
songwriting. [MUSIC - THE ROLLING STONES,
"TWENTY FLIGHT ROCK"] And then this is putting you
back in touch with stuff that came bouncing out the radio
and you go, wow! One day, I've got to
play that song. For real. [MUSIC - THE ROLLING STONES,
"TWENTY FLIGHT ROCK"] KEITH RICHARDS: Hey, if you
don't allow Mick Jagger to wear what he wants, then what's
the world coming to? [MUSIC - THE ROLLING
STONES, "MISS YOU"] Weirdly enough, I think that
particular style was unveiled on the last show of the tour. I thought they were pretty cool,
actually, in retrospect. [MUSIC - THE ROLLING STONES,
"BEAST OF BURDEN"] "Beast of Burden." It's
a special song. We didn't write it as a special
song or thought it was a special song when
we recorded it. But it's grown on me over the
years and I realize why people respond to it so much. I wish I could write another
one just as good. That's my aim. But it's a beautiful song. It just has all of the feel. What I aim for is to write
great soul ballads. And that's getting close. [MUSIC - THE ROLLING STONES,
"TIME IS ON MY SIDE"] It was strange, the different
tastes and the different hits that you got from different
countries, different areas, parts of the world. "Time Is on My Side"
wasn't released as a single in England. It came out here. And we're supposed to be this
bunch of rock and rollers. Meanwhile, we're having
hits with these sort of slow, soul ballads. "Time Is on My Side," and I
think "Heart of Stone," "Tell Me." They were big
hits in America. And meanwhile, we're trying to
play "Route 66." No, but we play blues, you know? [MUSIC - THE ROLLING STONES,
"SATISFACTION"] We didn't play "Satisfaction"
for years because we didn't like the way we played
it on stage, so we-- Who wants "Satisfaction?"
Eh, we don't-- he doesn't like it, you know? It took a long time for me to
be very comfortable with the song on stage. Maybe that record was just so
iconic sounding, that any other time you played it,
it jarred, in a way. It took the band a while
to actually say yeah. Our first record was "Come
On," a Chuck Berry song. And it was a top 10
record, but we wouldn't play it on stage. It's the Stones, you know? They're just ornery. [MUSIC - THE ROLLING STONES,
"UNDER MY THUMB"] Towards the end and you know
that you're going to hit some of your really solid riffs. Actually, in fact, you're
looking forward to it. Not because it's the end of the
show, but you just want to get your teeth into
those tracks. Because today I'm going
to play it better than I ever did before. Sometimes, it's wrong,
sometimes-- but that's the way you
go into those things [MUSIC - THE ROLLING STONES,
"PAINT IT BLACK"] The Japanese people
are an amazing bunch of Stones freaks. I mean, from the minute we got
there and until this very moment now. We had an especially warm
audience for the Stones. It was a fantastic experience. [MUSIC - THE ROLLING STONES,
"PAINT IT BLACK"] MICK JAGGER: Tokyo Dome, 1990,
which is the first time we'd ever played in Japan. Never been there before, weren't
allowed to go there because of [? Keith. ?] They wouldn't let in, because
of the drug problems. [MUSIC - THE ROLLING STONES,
"GIMME SHELTER"] KEITH RICHARDS: I tell you, it
was the Japanese people, more than us, that made it possible
for us to go there. Because at that time, the
Japanese authorities were pretty much not interested. I always figured they were
making a big mistake, because it only made people more
hate you and more promiscuous, in a way. Wondering why you
won't let in. So then you go, hey, what
are they doing? What are you scared of? They're a bunch of guitar
players, for Christ's sake. [MUSIC - THE ROLLING STONES,
"IT'S ONLY ROCK N ROLL"] They leap about a bit, and they
play some good music, and people want to hear it. I remember the fellow with
the stamps and the-- [GRUMBLES] MICK JAGGER: And then when we
got there, it was fantastic. We had a great welcome. A great audience. A very appreciative
Japanese audience. I had to learn my Japanese
pattern, which is always amusing. [SPEAKING JAPANESE] [MUSIC - THE ROLLING STONES,
"IT'S ONLY ROCK N ROLL"] It was a very difficult gig to
play, though-- the Tokyo Dome-- because it's
very echoey. [MUSIC - THE ROLLING STONES,
"ROCK AND A HARD PLACE"] It's very hard to hear
yourself as well. That was a tricky
place to play. Very tricky. [MUSIC - THE ROLLING STONES,
"SAD SAD SAD"] When you have this huge stage,
which was the "Steel Wheel" stage, which we-- I don't know how that
arrived in Japan-- but it was massively large,
even by today's standards. It was very long,
incredibly long. [MUSIC - THE ROLLING STONES,
"SAD SAD SAD"] KEITH RICHARDS: Time didn't
exist in years and months, or hours, or days. It existed in records
and tours. Somebody will say
to me, Oh, '91-- I think, oh, "Steel Wheel." My
time frame goes like that. MICK JAGGER: "Mixed Emotions,"
"Sad Sad Sad," "Rock And A Hard Place," "Almost Hear You
Sigh," "Can't Be Seen With You," and any others
I've forgotten. KEITH RICHARDS: It felt
really good to make. The whole album was
a joyous feeling. It was like, yes, this
is the time to do it. It kicked off the mega, mega
touring stuff as well. [MUSIC - THE ROLLING STONES,
"SAD SAD SAD"] I felt rejuvenated inside,
I think, so did Mick. By just having those
few years off. To make his own things. I'd done The Winos and playing
with other people. After all, being in
one small band-- five, six people-- a bit of a vacuum
after a time. And you want to spread wings and
see what else can happen. It doesn't mean you can't fold
them up and come back in. [MUSIC - THE ROLLING STONES,
"ROUGH JUSTICE"] KEITH RICHARDS: It was a mutual
respect, I think. I always felt that
about Toronto. It's been a favorite haunt to
rehearse in for some reason. A lot of it's to do
with logistics and money, I've no doubt. You go to the Masonic Hall, you
knew where you were going, and you didn't have to
break in a new room. So it was an easy place
to rehearse in. And it's always been
a good town to us. Especially to me. They got me out of jail. [MUSIC - THE ROLLING STONES,
"ROUGH JUSTICE"] I think there's something
psychological, maybe, in kicking off before we actually
hit the big stage and just get the feel of an audience and
they're really face to face, which is quite important because
once you get on the big stage, then you have to
exaggerate and everything has to be amplified more. The hard gigs are the small
ones, where you've got no props, no nothing. You just have to do what
you do, face to face. I think it's a matter of
touching your roots and then letting it fly from there. After all, it is a club band. In its embryonic form,
that's what it is. If we can pull it off
in a club, baby, we can pull it off anywhere. [MUSIC - THE ROLLING STONES,
"OH NO, NOT YOU AGAIN"] In a way, you use it to
break in new songs. We're going to throw a brand
new song at you now that you've never heard
in your life. Let's hope it goes down well. It's the band testing themselves
and saying, if we can play them an unknown song
and, yeah, it's rocking, then we're cool. MICK JAGGER: I think that's
the first time we've ever done that. Is that right? I think it might be. [MUSIC - THE ROLLING STONES,
"SHE'S SO COLD"] KEITH RICHARDS: There's a kind
of feeling about set lists, when it finally settles
itself and then you have room to maneuver. Let's branch out a bit and try
some of the newer stuff or something that we've
never done before. Do some cover version
of something. And actually, that's a sign of
the band feeling comfortable about itself. [MUSIC - THE ROLLING STONES,
"MR. PITIFUL"] A lot depends on if Mick
wants to sing it. When it comes down to it, the
front man has to be-- if I throw an idea at him and he
says, no way am I going to do that, no way are
we going to do it. When Mick's feeling adventurous,
it means he feels confident in the band and
that everything's set and ready to go. Which I certainly think
he was that night. MUSIC - THE ROLLING STONES,
"LIVE WITH ME"] If I look at the set list that
Mick's drawn up and-- the more adventurous the
thing is, I have more confidence in him. Because I know it's
a two-way street. In a way, I think, well,
he wants to try it, that's a good sign. Hope I can remember it. MICK JAGGER: We've got this old
tune for you we're doing slightly differently
this time around. See if you like this. [MUSIC - THE ROLLING STONES,
"19TH NERVOUS BREAKDOWN"] KEITH RICHARDS: Songs tend
to race when it's live. There's that extra adrenaline
that you have to constantly try and control it. Because once Mick gets going and
the whole thing's rocking, it's easy to let it
carry you away. And then sometimes it's not
the best for the music. And we have to keep putting some
brakes on occasionally. Pianissimo, you know? [MUSIC - THE ROLLING STONES,
"19TH NERVOUS BREAKDOWN"] Some things can get
stale on you. Others, you just might relish
them all the time and they taste good and there's
no shelf life. [MUSIC - THE ROLLING STONES,
"LIVE WITH ME"] Chuck's been with us since
Ian Stewart died. He's almost, like,
passed it on. Chuck is a perennial. He has become an important
part of the band, in actual fact. He's quite meticulous. Me, I'm kind of crazy,
you know? Let Chuck run the tempo to start
with, then we're cool and an incredible player. [MUSIC - THE ROLLING
STONES, "INFAMY"] Darryl is such a musicologist. I mean, he played with Miles
Davis and stuff. He's a real musician. Me, I'm a Rolling Stone,
which is another thing. I know how to do that. But at the same time, he loves
playing rock and roll. And he loves playing
with Charlie Watts. And the rest of us. But I think the thing is,
bass and drums have to-- [SNAPS] the worst thing in the world for
a band, is for the drummer to hate the bass player,
and vice versa. If those two are married and
in love, then I'm happy. [MUSIC - THE ROLLING STONES,
"AIN'T TOO PROUD TO BEG"] When it comes down to it,
the blues is what America gave the music-- to the world. I think the Stones always
thought that actually, we were playing America back
their own music. In that way, I think this
probably the best things the Stones really did, was they did
turn America back on to music that it was forgetting,
that it wasn't getting to hear. And people like Muddy, and
Howlin' Wolf, Jimmy Reed, Slim Harpo, people like that, got a
whole new lease on life and once again, America realized
what great music it has. [MUSIC - THE ROLLING STONES,
"AIN'T TOO PROUD TO BEG"] I think the band has its
own natural rhythm. If it had kept on just piling
on, we probably wouldn't be here talking now. And there's certain waves and
we're just about to hit a crest again. [MUSIC - THE ROLLING STONES,
"LIVE WITH ME"] [AUDIENCE CHEERING] MICK JAGGER: Thank you! Thank you very much! Thank you! KEITH RICHARDS: It's a hot
ticket, I'll give you that. I don't know if they come to
see us screw up or what.
