Google Play Mini-Doc: The Rolling Stones Bootleg Series

[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.