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OK, this is Keith, take one.
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MUSIC: Can't You Hear Me Knocking
by The Rolling Stones
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Every guy I've ever met in my life
wants to be Keith Richards.
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He is the epitome of a rock
guitarist.
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The original, the one and only.
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It's Keith Richards.
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Keith Richards has led a life
wreathed in legend.
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His attitude and legacy underpin
the whole idea of the Guitar Hero.
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What troubled mind would around
wondering
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what other people's perceptions are?
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I have enough dealing with my own.
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I can only imagine what delusions
other people labour under.
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More than just a musician,
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he's a defiant hedonist and a poster
boy for sheer survival.
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Rock and roll has to have an element
of danger
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and an element of unpredictability.
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And when you look at Keith Richards,
he embodies every element
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that you want in your rock and roll
star.
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00:01:13,320 --> 00:01:17,400
Keith is all about living your life
with no-one telling you how to be.
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It's following who you are
fearlessly.
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It's really the skin of the teeth.
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First off, that it happens to you,
then you've got to survive it,
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because you don't know what you're
in for when you start this thing.
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I still don't. So many surprises.
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I could kid myself that I was
obviously born to play rock and roll
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and be an enormous star.
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No, I dreamt of that,
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that doesn't, that's not the same
thing as knowing, is it?
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Do we call that destiny?
What do we call it?
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I call it love.
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There isn't another guitar
player like Keith Richards.
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There's nobody who comes
anywhere close to him.
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It was that sound of
the guitar
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and the sound of that
guitar
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was the creation, I would say,
of the Rolling Stones.
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He is definitely the
archetypal
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00:02:28,840 --> 00:02:32,360
bad boy rock
guitarist personified,
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and he's the model
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that all of us rebellious rock
guitar players followed from.
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Keith Richards wrote the
dictionary version
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of what rock and
roll was.
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A songwriter, a guitar
slinger, a travelling troubadour.
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He's such an encyclopaedia.
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00:02:52,200 --> 00:02:54,360
You need any advice?
Just go to Keith,
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no matter what state he's in,
he'll...
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Boom, go straight to the heart of
something.
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"Oh, OK, that's the answer.
Keith has the answer."
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Keith is somethin' else.
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00:03:04,880 --> 00:03:07,440
He's emotionally
very present.
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As present as you
can be
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00:03:08,960 --> 00:03:11,880
when you're really in the
business of fantasy.
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00:03:13,040 --> 00:03:16,040
Say you were a rock and
roll fan as a teenager,
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you had five kids and you
had to go to work
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at the assembly line for the Ford
Motor Company.
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Well, if you go to a Stones show
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and Keith is standing there looking
badass,
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you're visiting the part of you
that you feel is missing.
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After 60 years, the Stones are
still Rolling,
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playing sell-out shows in all
four corners of the globe.
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00:03:41,440 --> 00:03:46,040
But at the musical heart of every
gig is one key character.
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00:03:52,120 --> 00:03:55,560
I think everyone creates a character
for themselves to a certain extent.
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I don't know whether Keith's created
a character of himself
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which is real or not real.
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00:04:01,280 --> 00:04:03,880
Keith's got a reputation as a
hell-raiser,
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00:04:03,880 --> 00:04:06,960
so I think he was very worried,
at one point,
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00:04:06,960 --> 00:04:09,840
if he was no longer going to be a
hell-raiser,
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00:04:09,840 --> 00:04:11,960
he's not that character any more,
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who are you, then?
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I don't think he cares about
that any more.
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I don't blame him.
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00:04:18,400 --> 00:04:20,240
Are you comfortable doing
interviews like this?
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I mean, you've been doing
them for a long time.
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Is it something you relish?
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It depends on the interviewer,
old boy.
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I don't mind. You know, it's...
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I mean, I must say, now and
again, it's a grind,
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you know, answering the same
questions.
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00:04:33,960 --> 00:04:37,240
At the same time, that's
a challenge, because you think,
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"Can I come up with another answer
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"that means the same thing
in different words?" You know?
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So you slip and slide, you know.
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00:04:47,000 --> 00:04:51,320
WAITS: If you have a persona, it is
like a ventriloquist act.
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It's sitting on your lap,
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but it's not you.
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00:04:55,600 --> 00:04:58,440
I guess you could call it convenient
at times,
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00:04:58,440 --> 00:05:01,920
but there are also other
times when it's very inconvenient.
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00:05:04,400 --> 00:05:07,960
We are all hand in glove
in this dastardly scheme
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00:05:07,960 --> 00:05:10,400
to sell our products. Um...
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00:05:10,400 --> 00:05:14,840
But I consider it as part of the
gig.
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So, uh...there we go.
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Story so far.
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00:05:19,240 --> 00:05:21,600
Why are you coming to see the show?
Who are you going to see?
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00:05:21,600 --> 00:05:22,680
Keith Richards.
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00:05:22,680 --> 00:05:24,320
I like his hair.
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Just his hair? I just like him.
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Life in the spotlight hasn't
always been easy for Keith.
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JAGGER: He's terribly shy.
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00:05:41,960 --> 00:05:44,200
I mean, as I knew him
when he was a child
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and growing up to be a teenager,
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00:05:45,680 --> 00:05:47,440
I know what he's really, really
like.
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No-one else knows him from that
period except for me, I think.
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You can see from the interviews.
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He's introverted, naturally.
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00:06:07,280 --> 00:06:08,920
It's...
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00:06:08,920 --> 00:06:11,360
..hard to define shyness.
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00:06:11,360 --> 00:06:13,280
I don't know, when it comes
to shyness,
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I don't really know where to...to
put it.
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00:06:15,440 --> 00:06:18,880
I mean, I sometimes I think I use
it as a weapon
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00:06:18,880 --> 00:06:20,960
and say, "Oh, he's shy," you know?
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00:06:20,960 --> 00:06:23,960
And I guess, in a way, you get shy
of things,
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crowds and stuff because,
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I mean, I can't go to a movie,
to a cinema any more.
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Sometimes, when I have...
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..I've never felt, like, more sort
of embarrassed in my life,
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00:06:36,720 --> 00:06:39,000
somebody going, "It's Keith
Richards! It's Keith Richards!"
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00:06:39,000 --> 00:06:42,440
I've ruined the whole movie
for everybody, right?
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I mean... And then I go,
"Excuse me," tripping over people.
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"I'll leave now."
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00:06:47,680 --> 00:06:51,560
And, you know, I get shy in
that situation, you know?
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00:06:51,560 --> 00:06:54,320
And that just comes
with fame and all of that crap,
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which loads, throws another load
of stuff at you.
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00:06:59,200 --> 00:07:01,600
JAGGER: If you're an extrovert in
show business,
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I think you're in a good place.
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00:07:04,200 --> 00:07:05,760
If you're an introvert in show
business,
125
00:07:05,760 --> 00:07:09,000
it will cause you, probably,
some anguish
126
00:07:09,000 --> 00:07:12,840
or discomfort, perhaps, or anxiety.
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00:07:18,040 --> 00:07:21,240
Most people that are
in bands, guitar players,
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00:07:21,240 --> 00:07:23,280
maybe they're a little
introverted,
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00:07:23,280 --> 00:07:25,840
they're a bit awkward,
they can't talk to girls.
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00:07:26,880 --> 00:07:30,560
Even Jimi Hendrix would just be
at the back of the class, mumbling,
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but give him a guitar
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and the world lights up.
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00:07:36,760 --> 00:07:38,760
TURNER: Keith didn't care,
in the beginning,
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00:07:38,760 --> 00:07:41,680
about clothes or about his
image.
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00:07:42,760 --> 00:07:45,920
He was just concerned
with the sound.
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This was his way of performing.
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He was back there making the sound.
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Keith is born in 1943,
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18 miles east of London in Dartford,
Kent.
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00:08:05,520 --> 00:08:07,680
I understand that you two,
of all the five fellows,
141
00:08:07,680 --> 00:08:09,680
you two have been
friends longest, is that right?
142
00:08:09,680 --> 00:08:11,720
You've known each other,
went to school together? Yes.
143
00:08:11,720 --> 00:08:13,720
Little lads. When we were little
boys.
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Little bitty boys. And you
were raised around London, right?
145
00:08:16,760 --> 00:08:17,800
Yes.
146
00:08:17,800 --> 00:08:19,360
Is it in London itself, or...
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00:08:19,360 --> 00:08:21,160
No, just outside, about 20
miles. In the suburbs.
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The suburbs of London.
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00:08:22,680 --> 00:08:24,760
What's, what's the, uh, suburb
called?
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Dartford. Dartford?
151
00:08:26,360 --> 00:08:28,120
You're right on the edge
of the country,
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so you've got, you know,
commuters, heavy industry
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and you've got countryside.
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Very beautiful, still very
beautiful.
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The Dickensian sort of marshes
that go to the Thames Estuary,
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described in Great Expectations
so fully.
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00:08:47,240 --> 00:08:51,640
Dartford? Is that on the planet
Krypton? You know? Um...
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You were growing up in the residue
of a huge world war,
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but you didn't know anything
about it.
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00:09:00,600 --> 00:09:02,000
It was just the way things were.
161
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Bombsite here, you know?
162
00:09:05,520 --> 00:09:06,760
"No, you can't have that.
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00:09:06,760 --> 00:09:09,720
"We don't have any ration tickets
left."
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00:09:09,720 --> 00:09:12,680
I mean, it wasn't unusual.
You didn't feel hard done by it.
165
00:09:12,680 --> 00:09:14,240
It was just the way it was.
166
00:09:16,400 --> 00:09:20,600
The exam called the 11 Plus looms
large,
167
00:09:20,600 --> 00:09:24,600
sorting British kids into the
different educational paths
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00:09:24,600 --> 00:09:26,800
which will determine their future.
169
00:09:29,280 --> 00:09:31,680
I remember the 11 Plus.
I didn't take it.
170
00:09:31,680 --> 00:09:36,080
I went down with some kind of flu
at the time, or whatever it was.
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00:09:36,080 --> 00:09:39,920
And so I didn't actually get to take
it, which, I was immense...
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00:09:39,920 --> 00:09:42,760
I think I had a psychosomatic
disease, as I just...
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Exams are the thing that'll
kill me, you know?
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I mean, it's... Jesus.
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You either became a professional,
basically, of whatever, you know...
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Or, you know, you dug the ditches
and you do, you know,
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what working men do.
178
00:09:58,160 --> 00:10:00,600
And, of course, being kids
at that age, you don't realise
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00:10:00,600 --> 00:10:03,600
that you're being streamed...
180
00:10:03,600 --> 00:10:07,520
..to one aspect of society
and, you know,
181
00:10:07,520 --> 00:10:10,440
you're being dumped,
or you're being elevated.
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You have no idea, right?
183
00:10:11,960 --> 00:10:14,320
Anyway, I took the middle
route and got expelled.
184
00:10:14,320 --> 00:10:16,240
Which I...
185
00:10:16,240 --> 00:10:20,760
..I recommend heartily to any
red-blooded English schoolboy.
186
00:10:20,760 --> 00:10:22,640
As far as I was concerned at the
time,
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they'd heaped humiliation on me
188
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and I weren't going to take
it any more, you know?
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00:10:26,560 --> 00:10:30,320
You break it with one form
of authority
190
00:10:30,320 --> 00:10:33,920
and maybe after that, you start to
question...
191
00:10:35,280 --> 00:10:37,560
..other forms of authority, you
know?
192
00:10:37,560 --> 00:10:41,840
There was always something
about being told what to do,
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00:10:41,840 --> 00:10:44,240
especially without any reason.
194
00:10:46,680 --> 00:10:51,000
If Rebel Keith is born of a healthy
disregard for authority,
195
00:10:51,000 --> 00:10:55,680
it's his grandfather, Gus Dupree,
an amateur jazz musician,
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00:10:55,680 --> 00:10:59,200
who fosters an early
enthusiasm for music.
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00:11:02,520 --> 00:11:05,600
ARCHIVE: He was the father of seven
daughters.
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00:11:05,600 --> 00:11:07,640
Well, as far as I'm concerned,
199
00:11:07,640 --> 00:11:12,560
I seem to have been the only
boy he didn't have.
200
00:11:12,560 --> 00:11:15,920
So, in fact, for me, he was
more like a dad or a friend
201
00:11:15,920 --> 00:11:17,280
than a grandfather.
202
00:11:19,600 --> 00:11:21,560
He'd take me into music shops,
203
00:11:21,560 --> 00:11:23,560
but we'd always go in round the
back.
204
00:11:23,560 --> 00:11:25,560
We never went in the front door.
205
00:11:25,560 --> 00:11:29,960
And there was always a little deal
about, you know, some guitar strings
206
00:11:29,960 --> 00:11:32,160
or some violin strings.
207
00:11:32,160 --> 00:11:34,960
But then I would be in the back
of these music stores
208
00:11:34,960 --> 00:11:38,440
for like hours,
watching people make guitars,
209
00:11:38,440 --> 00:11:41,920
violins, repairing things.
210
00:11:41,920 --> 00:11:45,520
It was like magical stuff going on.
211
00:11:51,840 --> 00:11:55,520
He always had his violin
and instruments ready.
212
00:11:56,480 --> 00:12:02,760
He never, ever once pushed me
or tried to interest me.
213
00:12:02,760 --> 00:12:04,400
He would just play music,
you know?
214
00:12:04,400 --> 00:12:06,640
All kinds, you know, jazz,
classical.
215
00:12:06,640 --> 00:12:09,040
And then we'd just live our life
around the music.
216
00:12:09,040 --> 00:12:11,320
Until one day, he noticed
217
00:12:11,320 --> 00:12:14,120
that I was looking at the
guitar on top of the piano.
218
00:12:14,120 --> 00:12:16,400
And, uh... "Since you keep
looking at that,"
219
00:12:16,400 --> 00:12:18,040
he said, "you want to have a go?"
220
00:12:18,040 --> 00:12:20,240
And that's how... Boom, gave it to
me.
221
00:12:20,240 --> 00:12:24,480
He said, "I'll show you a few chords
here and you're on your own."
222
00:12:24,480 --> 00:12:25,640
And that was it.
223
00:12:27,000 --> 00:12:28,640
Can we just talk
about your first guitar?
224
00:12:28,640 --> 00:12:30,120
I think we've got it here.
225
00:12:30,120 --> 00:12:31,720
I'd love to see you handle it.
226
00:12:31,720 --> 00:12:34,560
So would I! That's all you need to
do. OK.
227
00:12:34,560 --> 00:12:36,080
What the...
228
00:12:43,280 --> 00:12:45,840
Careful here. Oh, that's it.
Oh, man.
229
00:12:47,200 --> 00:12:50,600
Yeah. The mice were at it then,
the mice have been at it now.
230
00:12:53,200 --> 00:12:54,360
This...
231
00:12:58,600 --> 00:13:03,160
..I believe it is the one
that my grandfather gave me.
232
00:13:04,720 --> 00:13:07,200
But I'm not sure about that.
233
00:13:07,200 --> 00:13:08,800
I don't know, but...
234
00:13:16,440 --> 00:13:18,360
Definitely my grandfather.
235
00:13:21,240 --> 00:13:23,400
Wow, you see?
Lovely piece of wood.
236
00:13:24,440 --> 00:13:26,680
MUSIC: Maybelline
by Chuck Berry
237
00:13:28,440 --> 00:13:30,320
Oh, Maybelline
238
00:13:30,320 --> 00:13:32,200
Why can't you be true?
239
00:13:32,200 --> 00:13:33,480
Oh, Maybelline...
240
00:13:33,480 --> 00:13:36,000
As Keith starts out on his musical
journey,
241
00:13:36,000 --> 00:13:40,000
his attention is grabbed by an
irresistible new sound.
242
00:13:40,000 --> 00:13:41,320
Rock and roll.
243
00:13:41,320 --> 00:13:43,120
I was motivating over the hill
244
00:13:43,120 --> 00:13:45,240
I saw Maybelline in a Coupe de
Ville
245
00:13:45,240 --> 00:13:47,240
Cadillac rollin' on over the road
246
00:13:47,240 --> 00:13:49,080
Nothin' outrunning my V8 Ford...
247
00:13:49,080 --> 00:13:53,600
I was getting an urge for some
country music and some blues.
248
00:13:53,600 --> 00:13:55,080
I was starting to get interested.
249
00:13:55,080 --> 00:13:57,600
Very little that you could get
in England at the time.
250
00:13:57,600 --> 00:13:59,560
I think when rock and roll came
along,
251
00:13:59,560 --> 00:14:02,920
it sort of fused the whole thing
together for me, you know?
252
00:14:02,920 --> 00:14:05,360
Ha! You know, "Where have you been?"
253
00:14:05,360 --> 00:14:08,800
At that age, it was devastating.
254
00:14:08,800 --> 00:14:10,840
Done got cloudy and started to
rain
255
00:14:10,840 --> 00:14:12,840
Tooted my horn for the passing
lane
256
00:14:12,840 --> 00:14:14,720
Rainwater blowing all under my
hood...
257
00:14:14,720 --> 00:14:17,920
That's it. That's where you want
to go. That's...
258
00:14:17,920 --> 00:14:19,200
"Book me a room!"
259
00:14:20,720 --> 00:14:24,400
It was an exciting time
to be a musician at that age.
260
00:14:24,400 --> 00:14:26,440
Yeah, it was great. Ha-ha!
261
00:14:51,040 --> 00:14:52,640
It was so completely
different
262
00:14:52,640 --> 00:14:54,240
from anything we'd ever
heard.
263
00:14:55,280 --> 00:14:59,880
And it had an excitement and
a positivity about it, I suppose.
264
00:14:59,880 --> 00:15:02,640
Rock and roll started
whenever it was, '58.
265
00:15:02,640 --> 00:15:05,080
It was Chuck Berry and Buddy Holly
266
00:15:05,080 --> 00:15:07,080
and all that lot that turned our
heads.
267
00:15:08,400 --> 00:15:11,880
That introduced us more into folk,
I suppose, and then into blues
268
00:15:11,880 --> 00:15:14,400
and the blues artists of the day.
269
00:15:14,400 --> 00:15:18,920
It was like collecting rare stamps,
finding good blues records.
270
00:15:24,640 --> 00:15:26,800
JAGGER: The hits were released by
major record companies.
271
00:15:26,800 --> 00:15:31,160
So, if it was a hit R&B track,
or if it made the Hot 100,
272
00:15:31,160 --> 00:15:32,440
these were easy to get.
273
00:15:32,440 --> 00:15:35,160
Major labels released these
records.
274
00:15:35,160 --> 00:15:39,280
To buy the whole album of Muddy
Waters was much more difficult,
275
00:15:39,280 --> 00:15:42,080
and you had to go to a jazz shop
in Charing Cross Road
276
00:15:42,080 --> 00:15:43,720
and pay a lot of money for it.
277
00:15:43,720 --> 00:15:46,760
And we used to order them
from America a bit cheaper
278
00:15:46,760 --> 00:15:48,760
and there was a sort of little
network of people
279
00:15:48,760 --> 00:15:50,160
that had record collections.
280
00:15:50,160 --> 00:15:52,880
And so you would go to their houses
and they would play you music
281
00:15:52,880 --> 00:15:55,240
and you would hear songs perhaps
you'd never heard before.
282
00:15:59,880 --> 00:16:02,440
ARCHIVE: I was going to Sidcup Art
School. Right.
283
00:16:02,440 --> 00:16:07,120
And Mick, at that time, was going
to the London School of Economics.
284
00:16:07,120 --> 00:16:09,000
But I just get off at Sidcup, you
know?
285
00:16:09,000 --> 00:16:12,680
Meanwhile, I'm sitting in the
carriage and suddenly he walks in.
286
00:16:12,680 --> 00:16:16,320
"There's Mick," who I hadn't seen
in years, you know. "Wow, man.
287
00:16:16,320 --> 00:16:19,080
"What's that under your arm?"
HE CHUCKLES
288
00:16:19,080 --> 00:16:22,200
And he pulls out the
Best Of Muddy Waters
289
00:16:22,200 --> 00:16:25,120
and Rockin' At The Hops by
Chuck Berry.
290
00:16:26,120 --> 00:16:29,680
And these are American pressings,
you know, and you can't get
291
00:16:29,680 --> 00:16:31,280
these records in England at the
time.
292
00:16:32,960 --> 00:16:36,200
Basically, that was the hook-up for
the Stones and for Mick and I,
293
00:16:36,200 --> 00:16:41,120
was just that we had this
same interest in music.
294
00:16:58,200 --> 00:17:01,680
BLUES HARMONICA PLAYING
295
00:17:09,520 --> 00:17:12,040
To know that these guys
were dedicated enough
296
00:17:12,040 --> 00:17:15,280
to send their money
off into the oblivion,
297
00:17:15,280 --> 00:17:18,040
in the hopes that something
would come back,
298
00:17:18,040 --> 00:17:22,280
and then they were, like, obsessed
and live off of that record.
299
00:17:22,280 --> 00:17:24,520
I just think it's just phenomenal.
300
00:17:26,080 --> 00:17:29,000
What was it about a
cricket-playing, football-playing
301
00:17:29,000 --> 00:17:32,200
bunch of characters, who drank
tea at four o'clock,
302
00:17:32,200 --> 00:17:34,080
who loved this music?
303
00:17:36,480 --> 00:17:40,720
Music from other cultures
has a romantic flair
304
00:17:40,720 --> 00:17:43,280
and is kind of exotic.
305
00:17:43,280 --> 00:17:48,040
So for the Rolling Stones,
being teenagers in England,
306
00:17:48,040 --> 00:17:53,320
getting their hands on
authentic American Blues records,
307
00:17:53,320 --> 00:17:56,680
authentic American folk records,
country records.
308
00:17:56,680 --> 00:18:01,040
It carried with it this whole
romantic gravitas.
309
00:18:03,840 --> 00:18:07,360
JAGGER: The thing about the blues
is it felt like it was coming
310
00:18:07,360 --> 00:18:08,880
from some other place.
311
00:18:10,040 --> 00:18:14,080
And it's much more raucous,
it's much more heartfelt,
312
00:18:14,080 --> 00:18:16,680
it's much more vivacious.
313
00:18:16,680 --> 00:18:20,160
It's not being filtered
through all these things.
314
00:18:20,160 --> 00:18:22,480
That's what kind of made us jealous
in England,
315
00:18:22,480 --> 00:18:25,520
was like, "Man, these cats
have got, you know,
316
00:18:25,520 --> 00:18:27,680
"they've got a long stretch on us."
317
00:18:27,680 --> 00:18:30,080
And, you know, we had a lot
of catching up to do.
318
00:18:32,160 --> 00:18:34,480
It was just a fascinating journey.
319
00:18:34,480 --> 00:18:38,480
And these presumptuous 18-year-old
white kids,
320
00:18:38,480 --> 00:18:41,440
who say, "We're going to be the best
blues band in London."
321
00:18:43,200 --> 00:18:46,080
Robert Plant said it to
me best.
322
00:18:46,080 --> 00:18:47,640
He said, "You know, Brian,
323
00:18:47,640 --> 00:18:51,440
"these white boys got a hold
of American black music
324
00:18:51,440 --> 00:18:52,960
"and gave it fist."
325
00:18:52,960 --> 00:18:54,200
The Rolling Stones!
326
00:18:54,200 --> 00:18:56,800
WILD CHEERING
327
00:18:56,800 --> 00:18:59,280
Said the joint was rocking
328
00:18:59,280 --> 00:19:01,840
Going round and round
329
00:19:01,840 --> 00:19:04,400
Yeah, reelin' and a-rockin'
330
00:19:04,400 --> 00:19:06,760
What a crazy sound
331
00:19:06,760 --> 00:19:08,760
But they never stopped
rockin'...
332
00:19:08,760 --> 00:19:11,160
I saw that whole
thing go down, man,
333
00:19:11,160 --> 00:19:13,400
with the white blues.
334
00:19:13,400 --> 00:19:14,920
The English were ahead of it.
335
00:19:14,920 --> 00:19:15,960
They spread it.
336
00:19:18,440 --> 00:19:20,480
There was something
really different about it.
337
00:19:21,960 --> 00:19:26,040
There was like this
undulating rhythm happening
338
00:19:26,040 --> 00:19:28,240
and it was sexually charged.
339
00:19:29,480 --> 00:19:32,120
Goin' round and round
340
00:19:32,120 --> 00:19:34,160
Yeah, reelin' and a rockin'
341
00:19:34,160 --> 00:19:36,800
What a crazy sound
342
00:19:36,800 --> 00:19:39,560
And they never stopped rockin'
343
00:19:39,560 --> 00:19:42,080
Till the moon went down.
344
00:19:43,320 --> 00:19:46,320
18, you know, playing your blues.
345
00:19:46,320 --> 00:19:49,880
And within a matter of months, women
are trying to tear your clothes off
346
00:19:49,880 --> 00:19:52,600
and they're jumping off of
balconies.
347
00:19:52,600 --> 00:19:55,600
LAUGHING: This is not quite what I
had in mind.
348
00:19:55,600 --> 00:19:56,880
It was mayhem.
349
00:20:10,400 --> 00:20:12,960
They were really good.
350
00:20:12,960 --> 00:20:18,560
My God, as a band,
they were really good.
351
00:20:20,960 --> 00:20:23,320
They had this charisma.
352
00:20:23,320 --> 00:20:28,720
They were so cool and really didn't
give a fuck.
353
00:20:28,720 --> 00:20:30,920
That was their attitude on stage.
354
00:20:30,920 --> 00:20:33,440
What a crazy sound
355
00:20:33,440 --> 00:20:37,040
And they never stopped rockin'
356
00:20:37,040 --> 00:20:39,520
Till the moon went down
357
00:20:39,520 --> 00:20:41,800
I said the joint was rockin'
358
00:20:41,800 --> 00:20:44,040
Goin' round and round
359
00:20:44,040 --> 00:20:46,160
Yeah, reelin' and a rockin'
360
00:20:46,160 --> 00:20:48,680
What a crazy sound
361
00:20:48,680 --> 00:20:51,440
And they never stopped rockin'
362
00:20:51,440 --> 00:20:53,840
Till the moon went down...
363
00:20:55,960 --> 00:21:00,120
The Stones
represented a danger,
364
00:21:00,120 --> 00:21:02,000
a teenage danger that we
365
00:21:02,000 --> 00:21:04,800
hadn't really experienced before.
366
00:21:15,920 --> 00:21:19,920
They were definitely different
than, say, the Beatles.
367
00:21:21,320 --> 00:21:23,200
The Beatles were there
to entertain you.
368
00:21:24,440 --> 00:21:28,040
These guys came for your daughters.
HE LAUGHS
369
00:21:32,000 --> 00:21:35,400
The Rolling Stones connect
with a post-war generation
370
00:21:35,400 --> 00:21:38,160
eager for new music.
371
00:21:38,160 --> 00:21:40,040
But the key to their success
372
00:21:40,040 --> 00:21:43,520
is a reverence for a blues
sound steeped in history.
373
00:21:46,200 --> 00:21:47,800
We did it through researching,
374
00:21:47,800 --> 00:21:51,040
getting really soaked up in the
blues, you know.
375
00:21:51,040 --> 00:21:52,320
We wanted to find out...
376
00:21:53,280 --> 00:21:58,440
..where the funkiest, swampiest
damn stuff came from, you know.
377
00:21:58,440 --> 00:22:00,640
MUSIC: Hobo Blues
by John Lee Hooker
378
00:22:00,640 --> 00:22:03,760
Keith Richards' choice of listening
music
379
00:22:03,760 --> 00:22:06,800
is a great musicology course for
anybody.
380
00:22:09,160 --> 00:22:14,280
He had a sort of evangelical drive
to expose people to the blues.
381
00:22:14,280 --> 00:22:18,120
When I first thought to hoboin'
382
00:22:18,120 --> 00:22:19,640
Hoboin'
383
00:22:22,200 --> 00:22:26,520
I took a freight train to be my
friend...
384
00:22:27,760 --> 00:22:29,000
We would have a lot of
385
00:22:29,000 --> 00:22:31,200
listening sessions in
Keith's room
386
00:22:31,200 --> 00:22:34,040
with just all this great
black music.
387
00:22:34,040 --> 00:22:38,200
And I think the Rolling Stones
actually tapping into that.
388
00:22:39,640 --> 00:22:41,400
You know I hobo'd, hobo'd,
hobo'd...
389
00:22:41,400 --> 00:22:44,520
And expressing it in their way
390
00:22:44,520 --> 00:22:49,160
is the evolution of the music,
as it should be.
391
00:22:49,160 --> 00:22:50,520
Oh, yeah.
392
00:22:51,520 --> 00:22:53,680
I think the whole wave
of music
393
00:22:53,680 --> 00:22:58,120
that came out of England
in the mid 1960s
394
00:22:58,120 --> 00:23:04,880
was a reflection of the best of
what we had cooked up over here
395
00:23:04,880 --> 00:23:06,760
over the last 50 years.
396
00:23:11,840 --> 00:23:14,880
They embraced it in the most
beautiful way.
397
00:23:14,880 --> 00:23:16,600
They honoured that music.
398
00:23:16,600 --> 00:23:19,440
I left home that morning
399
00:23:22,440 --> 00:23:25,120
My mother followed me down
to that...
400
00:23:25,120 --> 00:23:28,720
Being in America, to find out
that what we'd heard in England
401
00:23:28,720 --> 00:23:31,200
was only the tip of an iceberg
402
00:23:31,200 --> 00:23:34,520
and that you could burrow
far deeper,
403
00:23:34,520 --> 00:23:37,480
and that for every guy that you knew
about,
404
00:23:37,480 --> 00:23:40,720
there were ten others,
easily as good.
405
00:23:42,480 --> 00:23:47,040
Music and the beat and the sounds
came from the motherland.
406
00:23:48,080 --> 00:23:52,760
The black experience that is
soulful, that has a cry,
407
00:23:52,760 --> 00:23:57,720
that has a deep understanding,
that touches hearts,
408
00:23:57,720 --> 00:24:00,160
that communicates deeply.
409
00:24:03,120 --> 00:24:07,240
The Rolling Stones took
it and ran and made it their own.
410
00:24:09,080 --> 00:24:11,720
Next time I start to hoboin'
411
00:24:13,920 --> 00:24:16,600
I'm going to have my baby
by my side
412
00:24:17,800 --> 00:24:20,120
And then I know my night
413
00:24:20,120 --> 00:24:21,960
It won't be so lonely...
414
00:24:21,960 --> 00:24:24,920
We were just a bunch of guys
that loved our music,
415
00:24:24,920 --> 00:24:26,640
were obsessed with our music,
416
00:24:26,640 --> 00:24:30,560
but in our English fantasy
of America in the '50s,
417
00:24:30,560 --> 00:24:33,360
it just sort of pulled you and
called you.
418
00:24:38,160 --> 00:24:41,000
It was the place to be if you wanted
to be a musician.
419
00:24:42,360 --> 00:24:45,600
TV: Now, oh, something for the
youngsters.
420
00:24:45,600 --> 00:24:49,360
Five singing boys from England
who've sold a lot of albums.
421
00:24:49,360 --> 00:24:51,640
They're called The Rolling Stones.
422
00:24:51,640 --> 00:24:53,840
I've been rolled while I was
stoned myself.
423
00:24:53,840 --> 00:24:55,560
LAUGHTER
424
00:24:55,560 --> 00:24:58,960
So I don't know what they're singing
about, but, uh...
425
00:24:58,960 --> 00:25:00,200
..here they are.
APPLAUSE
426
00:25:06,160 --> 00:25:08,280
I don't want you to
427
00:25:08,280 --> 00:25:10,200
Be no slave
428
00:25:10,200 --> 00:25:12,200
I don't want you to
429
00:25:12,200 --> 00:25:14,160
Work all day
430
00:25:14,160 --> 00:25:16,160
I don't want you
431
00:25:16,160 --> 00:25:17,680
To be true
432
00:25:17,680 --> 00:25:22,000
I just wanna make love to you
433
00:25:22,000 --> 00:25:23,840
Love to you, baby
434
00:25:23,840 --> 00:25:26,040
Sweet love to you, baby
435
00:25:26,040 --> 00:25:27,320
Love to you
436
00:25:27,320 --> 00:25:31,160
I can tell by the way that you
twist and walk
437
00:25:31,160 --> 00:25:35,240
I can see by the way that you baby
talk...
438
00:25:35,240 --> 00:25:38,800
The Rolling Stones sang our music
back to us.
439
00:25:38,800 --> 00:25:40,760
But they were singing with us.
440
00:25:40,760 --> 00:25:43,520
You know, I never felt
that they were singing to us.
441
00:25:43,520 --> 00:25:46,640
I felt like they wanted
to be one of us.
442
00:25:46,640 --> 00:25:47,720
I welcomed them.
443
00:25:47,720 --> 00:25:49,640
I think we all welcomed them.
444
00:25:51,640 --> 00:25:55,200
I don't want you to be true
445
00:25:55,200 --> 00:25:59,440
I just wanna make love to you,
baby
446
00:25:59,440 --> 00:26:01,400
Love to you, baby
447
00:26:01,400 --> 00:26:03,480
Sweet love to you, baby
448
00:26:03,480 --> 00:26:05,440
Love to you, baby
449
00:26:05,440 --> 00:26:07,120
Love to you
450
00:26:07,120 --> 00:26:08,920
I
451
00:26:08,920 --> 00:26:11,000
Wanna make love
452
00:26:11,000 --> 00:26:12,480
To you.
453
00:26:24,240 --> 00:26:25,920
I was really excited
454
00:26:25,920 --> 00:26:28,800
that somebody felt and
loved this music
455
00:26:28,800 --> 00:26:34,000
as much as I did and would
dedicate their lives to playing it
456
00:26:34,000 --> 00:26:35,800
and exposing people to it.
457
00:26:38,360 --> 00:26:41,840
Some people thought they might
have been appropriating,
458
00:26:41,840 --> 00:26:43,560
or this, that and the other thing.
459
00:26:43,560 --> 00:26:45,440
Well, um, 'scuse me,
460
00:26:45,440 --> 00:26:47,080
it's right here in your backyard,
461
00:26:47,080 --> 00:26:49,280
and I don't see you doing anything
about it.
462
00:26:53,200 --> 00:26:55,040
ARCHIVE: Cos it's been said that
the Rolling Stones
463
00:26:55,040 --> 00:26:57,480
gave black music back to the
Americans.
464
00:26:57,480 --> 00:27:01,160
How do you feel these black
musicians feel about The Stones?
465
00:27:01,160 --> 00:27:04,400
I mean, I know people like
Muddy Waters, etc...
466
00:27:04,400 --> 00:27:07,040
..are really grateful, you know,
for...
467
00:27:07,040 --> 00:27:09,480
I mean, really, I mean, we did
very little.
468
00:27:09,480 --> 00:27:12,520
I mean, all we said was that
we dug Muddy Waters, you know?
469
00:27:12,520 --> 00:27:17,080
I mean, which happened to have a lot
of an effect for him, you know?
470
00:27:17,080 --> 00:27:19,080
In his own life. It means more bread
for him,
471
00:27:19,080 --> 00:27:21,360
because he got on to the white
college circuit
472
00:27:21,360 --> 00:27:23,600
and things, which wouldn't
have happened, things like that.
473
00:27:23,600 --> 00:27:25,520
But we weren't the only ones
to do it.
474
00:27:25,520 --> 00:27:28,200
I mean, every English band
in the '60s that went to America,
475
00:27:28,200 --> 00:27:29,640
you know, was...
476
00:27:29,640 --> 00:27:30,960
Came there and said,
477
00:27:30,960 --> 00:27:32,280
"Well, you know, we've got our
478
00:27:32,280 --> 00:27:33,760
"music from black records."
479
00:27:38,480 --> 00:27:40,480
This is way beyond our dreams
480
00:27:40,480 --> 00:27:43,520
of being the biggest R&B
band in London.
481
00:27:44,480 --> 00:27:47,080
Muddy Waters has suddenly
got a hit record again.
482
00:27:47,080 --> 00:27:48,920
John Lee Hooker is on the charts,
483
00:27:48,920 --> 00:27:51,480
Slim Harpo and all of these people
484
00:27:51,480 --> 00:27:55,560
that were totally unknown two years
before.
485
00:27:55,560 --> 00:27:57,560
And we felt very proud of the...
486
00:27:57,560 --> 00:28:00,000
I mean, Jesus, what a mantle
we carry.
487
00:28:00,000 --> 00:28:01,920
I still get a nice warm glow
488
00:28:01,920 --> 00:28:05,560
out of turning everybody back
on to their own stuff.
489
00:28:05,560 --> 00:28:08,760
To find yourself on the bill
with Muddy Waters...
490
00:28:10,200 --> 00:28:12,400
Whoa. Victory is ours.
491
00:28:12,400 --> 00:28:13,880
You know, it's cool.
492
00:28:16,920 --> 00:28:20,400
A reworking of music that was
already American
493
00:28:20,400 --> 00:28:24,360
helps the Stones storm the States
and the world.
494
00:28:25,440 --> 00:28:27,360
In just a matter of months,
495
00:28:27,360 --> 00:28:32,800
their sound and image are number one
on both sides of the Atlantic.
496
00:28:39,600 --> 00:28:42,320
We felt it was a gift coming
to America.
497
00:28:43,720 --> 00:28:47,480
I mean, suddenly to be transplanted
from, er...
498
00:28:47,480 --> 00:28:49,120
..some wannabe...
499
00:28:50,840 --> 00:28:54,000
It was endlessly fascinating,
America.
500
00:28:55,160 --> 00:28:56,360
After Dartford.
501
00:28:58,680 --> 00:29:02,640
We grew into it.
And music grew into us and...
502
00:29:03,560 --> 00:29:07,560
..America changed rapidly in '64,
'65.
503
00:29:11,080 --> 00:29:13,360
White America, when we first
came here,
504
00:29:13,360 --> 00:29:16,440
was incredibly old-fashioned to us.
505
00:29:16,440 --> 00:29:18,840
Our idea of America was modernity.
506
00:29:18,840 --> 00:29:22,640
And once you got out there
in the sticks. Whoa!
507
00:29:22,640 --> 00:29:25,920
You realise the incredible gap
there.
508
00:29:30,800 --> 00:29:32,120
America was the Holy Grail.
509
00:29:32,120 --> 00:29:33,520
It really, really was.
510
00:29:33,520 --> 00:29:35,880
And it was to do with
not just
511
00:29:35,880 --> 00:29:38,360
wanting to be big in America.
512
00:29:38,360 --> 00:29:41,120
It was more that their fame
and notoriety
513
00:29:41,120 --> 00:29:42,560
had given them an opportunity.
514
00:29:42,560 --> 00:29:46,320
It was like a laminate,
a pass into American culture.
515
00:29:46,320 --> 00:29:48,360
And I think that was the thing
with Keith.
516
00:29:48,360 --> 00:29:51,920
He saw the Stones as this amazing
laminate
517
00:29:51,920 --> 00:29:57,000
into the fabric of what made
American music what it was.
518
00:30:00,000 --> 00:30:01,480
I think it's the call,
519
00:30:01,480 --> 00:30:05,440
but the Americans were still playing
folk songs and folk music.
520
00:30:05,440 --> 00:30:06,920
Basically through country music,
521
00:30:06,920 --> 00:30:09,760
which always sounds like schmaltz to
a lot of people, I know,
522
00:30:09,760 --> 00:30:12,720
but there's a lot of truth in
country music.
523
00:30:13,960 --> 00:30:16,320
MUSIC: Wild Horses
by The Rolling Stones
524
00:30:17,760 --> 00:30:19,440
I actually think that
The Rolling Stones
525
00:30:19,440 --> 00:30:21,320
are some of the
first proponents
526
00:30:21,320 --> 00:30:23,480
of what's now
called Americana music.
527
00:30:23,480 --> 00:30:27,920
It's ironic, but you listen
to something like Wild Horses.
528
00:30:27,920 --> 00:30:33,120
That's a pretty eclectic blend
of authentic American music styles
529
00:30:33,120 --> 00:30:35,320
that no-one had really touched
on before.
530
00:30:37,080 --> 00:30:38,160
They've written some of
531
00:30:38,160 --> 00:30:39,840
the quintessential
country songs,
532
00:30:39,840 --> 00:30:41,280
as far as I'm concerned.
533
00:30:43,040 --> 00:30:46,600
Childhood living...
534
00:30:50,320 --> 00:30:53,320
They're so much more than an R&B
band,
535
00:30:53,320 --> 00:30:58,800
and they're also extremely
brilliant pop song craftsmen.
536
00:30:59,920 --> 00:31:03,920
I think they took Jimmy Reed and
Muddy Waters
537
00:31:03,920 --> 00:31:06,960
and George Jones
and Merle Haggard
538
00:31:06,960 --> 00:31:11,160
and brought it back to us with pop
hooks.
539
00:31:12,120 --> 00:31:14,720
I don't know that there is a band
that can write better hooks
540
00:31:14,720 --> 00:31:15,960
than The Rolling Stones.
541
00:31:17,160 --> 00:31:19,680
I love that the Stones
can do that,
542
00:31:19,680 --> 00:31:24,600
that they can take stuff
from their influencers
543
00:31:24,600 --> 00:31:26,240
and do it their way.
544
00:31:27,200 --> 00:31:31,400
They translate it and do it their
way.
545
00:31:31,400 --> 00:31:34,800
That's another wonderful thing
they've taught me,
546
00:31:34,800 --> 00:31:37,400
is how to put a song together.
547
00:31:40,960 --> 00:31:44,720
Wild horses
548
00:31:46,960 --> 00:31:51,280
Couldn't drag me away
549
00:31:54,560 --> 00:31:58,680
Wild, wild horses
550
00:31:59,800 --> 00:32:04,160
Couldn't drag me away...
551
00:32:04,160 --> 00:32:06,200
One of the things people don't talk
about,
552
00:32:06,200 --> 00:32:07,760
or I don't hear
talked about,
553
00:32:07,760 --> 00:32:10,200
is what a great songwriter
Keith Richards is.
554
00:32:10,200 --> 00:32:15,000
And I think it's because
he's so known as a guitarist
555
00:32:15,000 --> 00:32:19,040
and also because he's so known
to be dissolute, or whatever,
556
00:32:19,040 --> 00:32:22,720
that beautiful thing is that he is,
you know, that people,
557
00:32:22,720 --> 00:32:26,840
I don't think, have really
recognised the extraordinary
558
00:32:26,840 --> 00:32:30,320
contribution that he's made
through his songwriting.
559
00:32:34,640 --> 00:32:37,160
I really remember a
particular,
560
00:32:37,160 --> 00:32:39,440
period as a really
little guy
561
00:32:39,440 --> 00:32:43,760
from Beggar's Banquet, Let It
Bleed, Sticky Fingers,
562
00:32:43,760 --> 00:32:45,520
Exile on Main Street.
563
00:32:45,520 --> 00:32:49,440
That was the period when the Stones
was the background music of my life.
564
00:32:51,080 --> 00:32:55,160
It just kind of adds another
thread between this tapestry
565
00:32:55,160 --> 00:33:02,040
of this marvellous backlog of
material that the Stones have.
566
00:33:02,040 --> 00:33:03,520
It's like...
567
00:33:03,520 --> 00:33:07,760
..whoa! You know,
what a legacy and...
568
00:33:07,760 --> 00:33:11,240
..lucky dip. Take a song, you know?
569
00:33:11,240 --> 00:33:12,440
Pick it out.
570
00:33:19,400 --> 00:33:23,680
It soon becomes clear, writing,
as well as performing smash hits,
571
00:33:23,680 --> 00:33:25,160
is the name of the game
572
00:33:25,160 --> 00:33:28,440
if they want to be a new kind
of musical superstar.
573
00:33:30,000 --> 00:33:32,080
We were working the clubs in London
574
00:33:32,080 --> 00:33:34,600
and the Beatles just came out
and had a hit -
575
00:33:34,600 --> 00:33:36,360
Love Me Do.
576
00:33:36,360 --> 00:33:38,640
And we said, "Oh,
man, what a great record."
577
00:33:38,640 --> 00:33:40,680
The Beatles suddenly explode.
578
00:33:40,680 --> 00:33:43,240
And there's, there you are going...
579
00:33:43,240 --> 00:33:45,880
"Oh. Yeah, but we're a blues band."
580
00:33:45,880 --> 00:33:47,960
The Beatles changed this whole
thing.
581
00:33:47,960 --> 00:33:54,000
Our job was to be like the premier
rhythm and blues band in London,
582
00:33:54,000 --> 00:33:55,280
and we managed that.
583
00:33:56,560 --> 00:34:02,680
But we had no idea of
progressing beyond that stage.
584
00:34:02,680 --> 00:34:05,880
Keith, he'd play The Beatles
all the time.
585
00:34:05,880 --> 00:34:07,880
It'd drive me absolutely batty.
586
00:34:07,880 --> 00:34:10,360
And why he was playing The Beatles
587
00:34:10,360 --> 00:34:12,520
wasn't because he didn't want
to listen to anything else.
588
00:34:12,520 --> 00:34:14,720
Keith wanted to write these pop
songs,
589
00:34:14,720 --> 00:34:16,760
cos we're undeniably
the blues band,
590
00:34:16,760 --> 00:34:18,640
but we...
591
00:34:20,080 --> 00:34:22,560
..knew we had to be a pop band.
592
00:34:22,560 --> 00:34:25,400
We were just envious, too,
man, you know?
593
00:34:25,400 --> 00:34:28,520
I mean, they're doing what we want,
you know, they got it.
594
00:34:28,520 --> 00:34:30,600
You know? They can make records.
595
00:34:30,600 --> 00:34:35,640
The Holy Grail was to make records,
to be able to get into a studio.
596
00:34:35,640 --> 00:34:36,880
It was like diamonds!
597
00:34:36,880 --> 00:34:39,080
You know, you'd think it was a gold
mine,
598
00:34:39,080 --> 00:34:41,280
which in a way it was, you know
what I mean?
599
00:34:41,280 --> 00:34:45,120
But you'd think you were invading
Fort Knox,
600
00:34:45,120 --> 00:34:46,360
just to make a record.
601
00:34:46,360 --> 00:34:49,640
Without The Beatles, The Stones
would never have been there.
602
00:34:49,640 --> 00:34:51,600
The reason The Stones existed,
603
00:34:51,600 --> 00:34:56,440
or got, made records,
was because the record industry
604
00:34:56,440 --> 00:35:00,960
couldn't afford to lose another
Beatles.
605
00:35:03,920 --> 00:35:06,520
We'd never have got in a recording
studio without them.
606
00:35:07,600 --> 00:35:09,320
We would've sold,
and I probably did,
607
00:35:09,320 --> 00:35:12,640
sell my soul just to be on
tape, just to get on record,
608
00:35:12,640 --> 00:35:15,320
just to learn how records are made.
609
00:35:17,960 --> 00:35:22,400
Recording is, still is, to me,
the most mysterious art.
610
00:35:27,400 --> 00:35:29,840
I think he could live in a studio.
611
00:35:32,320 --> 00:35:33,600
He just loves music.
612
00:35:34,840 --> 00:35:37,080
Music is always part of his life.
Music is always on.
613
00:35:37,080 --> 00:35:38,720
Music is always the backdrop
of his life.
614
00:35:38,720 --> 00:35:41,920
And the guitar is always there,
the piano is always there.
615
00:35:41,920 --> 00:35:45,080
Always has it right handy
whenever he wants it.
616
00:35:46,320 --> 00:35:48,400
But he loves the process.
617
00:35:48,400 --> 00:35:50,240
I think he loves the process
more than anything.
618
00:35:50,240 --> 00:35:53,560
He loves developing a song.
He likes to write in a studio.
619
00:35:56,720 --> 00:35:59,120
It's a kid's dream come true.
620
00:35:59,120 --> 00:36:05,200
I mean, you're constantly living
those moments of, like,
621
00:36:05,200 --> 00:36:09,240
"I've got a guitar strapped up, in a
studio to...
622
00:36:09,240 --> 00:36:11,840
"and we're cutting."
You know, and...
623
00:36:13,280 --> 00:36:16,360
..it's a surreal sensation in a
way.
624
00:36:17,640 --> 00:36:19,200
Keith would come to the studio
625
00:36:19,200 --> 00:36:20,640
and he'd have maybe
half an idea,
626
00:36:20,640 --> 00:36:22,400
and he'd sit and play
it and play it
627
00:36:22,400 --> 00:36:24,120
and play it and play
it on his own.
628
00:36:24,120 --> 00:36:26,240
And then, when he got it almost
into shape,
629
00:36:26,240 --> 00:36:28,960
Bill and Charlie would sit with him
and they'd play along with him
630
00:36:28,960 --> 00:36:31,600
to help him develop the riff
into a song.
631
00:36:33,160 --> 00:36:39,280
The Stones have a
great craft of songwriting,
632
00:36:39,280 --> 00:36:42,880
and that is how to present it.
633
00:36:42,880 --> 00:36:47,920
How to record it so that it knocks
your socks off and you go, "Whoa!"
634
00:36:49,600 --> 00:36:51,520
What they've done is epic.
635
00:36:51,520 --> 00:36:56,600
The way they were able to weave
these disparate elements together.
636
00:36:56,600 --> 00:36:58,080
It's a magic trick.
637
00:36:58,080 --> 00:37:00,600
What you do is the job
of a minstrel.
638
00:37:00,600 --> 00:37:04,760
You know, songs evolve,
music evolves.
639
00:37:04,760 --> 00:37:07,280
Keith was not the purist
of the band.
640
00:37:07,280 --> 00:37:08,640
A blues purist.
641
00:37:09,600 --> 00:37:11,640
Keith liked to write pop songs.
642
00:37:11,640 --> 00:37:13,600
He wrote lots and lots of pop songs.
643
00:37:13,600 --> 00:37:17,440
Ruby Tuesday, As Tears Go By.
644
00:37:17,440 --> 00:37:19,880
He also wrote Angie.
645
00:37:19,880 --> 00:37:22,520
I mean, these are not blues
songs as we know them.
646
00:37:22,520 --> 00:37:26,920
These are pop songs that emanate,
really, from Keith, originally.
647
00:37:28,160 --> 00:37:31,600
Keith's talent drives the band's
success,
648
00:37:31,600 --> 00:37:33,280
but he's a reluctant star...
649
00:37:33,280 --> 00:37:34,680
Just to tell you...
650
00:37:34,680 --> 00:37:39,280
..struggling to handle the adoration
and fame that engulfs the band.
651
00:37:41,080 --> 00:37:42,440
I'd have been quite happy
652
00:37:42,440 --> 00:37:44,840
to make all these records
totally anonymously.
653
00:37:44,840 --> 00:37:46,880
HE LAUGHS
But then, of course,
654
00:37:46,880 --> 00:37:48,840
I mean, that's not possible.
655
00:37:48,840 --> 00:37:51,760
I mean, hey, you've got to get out
there and put yourself out.
656
00:37:51,760 --> 00:37:54,480
And I learnt how to do that and I
quite enjoyed it.
657
00:37:55,840 --> 00:37:59,760
But I guess my refuge was heroin,
658
00:37:59,760 --> 00:38:03,480
was drugs, and there I stayed
as long as I could.
659
00:38:05,320 --> 00:38:06,760
Keith Richards on guitar.
660
00:38:09,920 --> 00:38:13,320
She drew out all her money at
the Southern Trust
661
00:38:13,320 --> 00:38:16,240
And put her little boy aboard a
Greyhound bus
662
00:38:16,240 --> 00:38:19,360
Leaving Louisiana for the Golden
West...
663
00:38:19,360 --> 00:38:21,120
As his star rises,
664
00:38:21,120 --> 00:38:23,600
keeping up with Keith in the 1970s
665
00:38:23,600 --> 00:38:25,240
becomes a deadly game.
666
00:38:26,240 --> 00:38:28,200
And his addiction to heroin
667
00:38:28,200 --> 00:38:31,160
ultimately threatens the future of
the band.
668
00:38:34,760 --> 00:38:36,320
I mean, the thing is,
most people
669
00:38:36,320 --> 00:38:37,600
are kind of shy
and awkward
670
00:38:37,600 --> 00:38:38,960
and they wouldn't have got
671
00:38:38,960 --> 00:38:40,680
on a stage if they weren't loaded.
672
00:38:40,680 --> 00:38:45,040
So it works in your favour
in the initial years,
673
00:38:45,040 --> 00:38:47,920
but when it starts working
against you and you get addicted
674
00:38:47,920 --> 00:38:51,000
to the drugs, cos they're
addictive, then you have a problem.
675
00:39:25,200 --> 00:39:29,160
MUSIC ECHOES AND DISTORTS
676
00:39:36,040 --> 00:39:38,680
Everybody's got a
different metabolism,
677
00:39:38,680 --> 00:39:43,760
a different way of dealing with
that amount of adoration.
678
00:39:43,760 --> 00:39:46,800
I just felt that as long as I kept
myself to myself,
679
00:39:46,800 --> 00:39:49,320
that, er, you know, there was no
reason for them
680
00:39:49,320 --> 00:39:52,120
to make any big fuss about it.
681
00:39:53,120 --> 00:39:55,280
Keith's transformation confirms
him
682
00:39:55,280 --> 00:39:58,000
as an international icon of
rebellion.
683
00:39:58,000 --> 00:40:00,760
And a target for the authorities.
684
00:40:01,720 --> 00:40:04,200
Late in the winter of '77,
685
00:40:04,200 --> 00:40:05,880
Richards is in Toronto...
686
00:40:08,200 --> 00:40:10,960
..where the Rolling Stones
are set to perform.
687
00:40:18,560 --> 00:40:22,760
We went to Toronto
to do this concert.
688
00:40:22,760 --> 00:40:24,400
I remember...
689
00:40:24,400 --> 00:40:30,000
when the police
were walking up the staircase...
690
00:40:30,000 --> 00:40:32,280
..and wondering
what that was all about.
691
00:40:34,640 --> 00:40:37,840
The day before, Keith's girlfriend,
Anita Pallenberg,
692
00:40:37,840 --> 00:40:39,680
arrives at Toronto Airport
693
00:40:39,680 --> 00:40:42,440
and as the Canadian Police
search her belongings,
694
00:40:42,440 --> 00:40:45,360
they find her in possession
of hashish.
695
00:40:45,360 --> 00:40:47,000
An investigation begins
696
00:40:47,000 --> 00:40:51,400
that leads the police
all the way to Keith's hotel room.
697
00:40:53,080 --> 00:40:55,080
Of course, he was found with drugs
698
00:40:55,080 --> 00:40:57,160
and heroin and
all that kind of stuff
699
00:40:57,160 --> 00:40:59,760
because he had a habit at the time
700
00:40:59,760 --> 00:41:04,240
and the history of The
Rolling Stones changed on a dime.
701
00:41:04,240 --> 00:41:06,800
TV: The Rolling Stones is one of
the most famous rock groups
702
00:41:06,800 --> 00:41:08,080
in the world.
703
00:41:08,080 --> 00:41:10,960
A week ago, lead guitarist
Keith Richards was charged
704
00:41:10,960 --> 00:41:13,840
with possession of heroin
for the purpose of trafficking.
705
00:41:15,480 --> 00:41:18,040
It was actually terrifying
because he realised
706
00:41:18,040 --> 00:41:21,480
he was up for, you know,
it could be 20 years of prison.
707
00:41:22,840 --> 00:41:24,520
I think the reason I was taking it
708
00:41:24,520 --> 00:41:27,480
was how to deal with
fame and pressure
709
00:41:27,480 --> 00:41:29,920
and it's one way to run away.
710
00:41:29,920 --> 00:41:32,240
I wouldn't recommend it
to anybody
711
00:41:32,240 --> 00:41:35,040
but there again it's
a personal choice, I don't know,
712
00:41:35,040 --> 00:41:36,400
and it's a rough old world
713
00:41:36,400 --> 00:41:38,760
and sometimes you need something
to blank it out.
714
00:41:40,120 --> 00:41:42,160
And it probably ain't worth
the ride.
715
00:41:49,000 --> 00:41:52,280
It was the realisation in Canada
716
00:41:52,280 --> 00:41:55,640
that I was actually
jeopardising the band.
717
00:41:57,400 --> 00:41:59,320
And if they were going
to put me away,
718
00:41:59,320 --> 00:42:01,360
I mean, it was bye-bye,
you know.
719
00:42:01,360 --> 00:42:04,520
If I get out of this and don't
have to cold turkey in jail,
720
00:42:04,520 --> 00:42:06,440
I'm going to go and clean up.
721
00:42:07,520 --> 00:42:11,200
He just made a commitment,
"I'm going to get this together,"
722
00:42:11,200 --> 00:42:15,560
because, at that point,
it was music or drugs -
723
00:42:15,560 --> 00:42:19,640
and music was far more important
than drugs.
724
00:42:19,640 --> 00:42:22,440
How do you think this conviction is
going to affect you and your music
725
00:42:22,440 --> 00:42:23,920
and The Rolling Stones?
726
00:42:23,920 --> 00:42:26,360
I don't know. I just want to get on
with it now that it's over,
727
00:42:26,360 --> 00:42:29,000
you know, just get on with
what I'm supposed to be doing
728
00:42:29,000 --> 00:42:31,120
instead of worrying about this,
you know.
729
00:42:31,120 --> 00:42:32,880
Do you think it will have
any effect, then?
730
00:42:32,880 --> 00:42:35,760
I don't know.
Might get a song out of it.
731
00:42:35,760 --> 00:42:37,280
STADIUM CHEER
732
00:42:37,280 --> 00:42:40,640
MC: Ladies and gentlemen...
The Rolling Stones!
733
00:42:40,640 --> 00:42:42,360
UPROAR FROM CROWD
734
00:42:50,800 --> 00:42:53,760
It's not drugs, fashion
or lifestyle choices
735
00:42:53,760 --> 00:42:56,240
that will define Keith's story.
736
00:42:56,240 --> 00:42:58,480
It's his talent...
737
00:42:59,800 --> 00:43:02,400
..that marks him out as
one of the most important
738
00:43:02,400 --> 00:43:05,120
and influential artists of our age.
739
00:43:09,600 --> 00:43:14,360
Keith is all about feel
and instinct.
740
00:43:14,360 --> 00:43:17,680
If he's writing a song,
he may have two chords
741
00:43:17,680 --> 00:43:21,400
and he's perfectly happy to sit
there and play those two chords
742
00:43:21,400 --> 00:43:23,840
for two hours.
743
00:43:23,840 --> 00:43:27,320
And he's just waiting for
the next part of the song to come
744
00:43:27,320 --> 00:43:29,000
but he's not going to force it.
745
00:43:29,000 --> 00:43:33,680
He's going to just keep playing
this mantra until something appears.
746
00:43:33,680 --> 00:43:35,520
And it always does.
747
00:43:37,520 --> 00:43:40,960
I really do like a striking intro
to records,
748
00:43:40,960 --> 00:43:43,320
especially a rock and roll record,
you know,
749
00:43:43,320 --> 00:43:45,880
and I'm talking about
that particular format.
750
00:43:45,880 --> 00:43:47,560
But if an intro can grab you,
751
00:43:47,560 --> 00:43:50,720
you're going to be in
for at least a few more minutes.
752
00:43:50,720 --> 00:43:54,080
And if the riff behind that intro
grabs you, then,
753
00:43:54,080 --> 00:43:55,880
then, you've pretty much got 'em.
754
00:43:55,880 --> 00:43:57,160
MACHINE CLICKS
755
00:43:58,400 --> 00:44:00,880
INTRODUCTION TO GIMME SHELTER
756
00:44:00,880 --> 00:44:02,880
If you listen to
The Rolling Stones' records,
757
00:44:02,880 --> 00:44:06,160
Keith wrote some
unbelievable intros.
758
00:44:06,160 --> 00:44:13,920
MUSIC: Gimme Shelter
by The Rolling Stones
759
00:44:13,920 --> 00:44:17,960
Every guitar player in the world
went, "Wow!"
760
00:44:17,960 --> 00:44:19,840
And, you know, "How did he do that?"
761
00:44:19,840 --> 00:44:21,920
Well, he took off one string.
762
00:44:21,920 --> 00:44:23,320
There's five strings.
763
00:44:23,320 --> 00:44:25,920
I take the bottom string goes off,
764
00:44:25,920 --> 00:44:30,360
and then, you tune the rest
of the strings to the chord of G.
765
00:44:30,360 --> 00:44:32,240
That tuning of his,
there's
766
00:44:32,240 --> 00:44:34,520
something menacing
about that.
767
00:44:34,520 --> 00:44:38,800
Just to weave that
in the centre of the groove.
768
00:44:38,800 --> 00:44:42,600
That is a brilliant guitar sound.
769
00:44:42,600 --> 00:44:46,200
It says so much with so little.
770
00:44:46,200 --> 00:44:47,800
Holy smoke!
771
00:44:49,280 --> 00:44:52,000
There's something about
the intonation of the notes,
772
00:44:52,000 --> 00:44:55,160
the separation and the point
that I would say is almost mystical
773
00:44:55,160 --> 00:44:57,720
that when hitting it the right way
in the right moment,
774
00:44:57,720 --> 00:45:00,080
you know - cheap ride to heaven.
775
00:45:00,080 --> 00:45:03,480
My very life today
776
00:45:03,480 --> 00:45:07,520
If I don't get some shelter
777
00:45:07,520 --> 00:45:11,440
Ooh, yeah, I'm gonna fade away
778
00:45:11,440 --> 00:45:13,040
War, children...
779
00:45:13,040 --> 00:45:16,440
Silence is your canvas,
for a musician,
780
00:45:16,440 --> 00:45:18,920
and it's how much
you fill in the canvas
781
00:45:18,920 --> 00:45:21,600
and how much light you let through.
782
00:45:21,600 --> 00:45:26,280
It's something you really don't
know, it's almost intuitive.
783
00:45:26,280 --> 00:45:29,120
You do it by feel,
really, on instinct.
784
00:45:35,480 --> 00:45:38,200
Ooh, see the fire is sweepin'...
785
00:45:38,200 --> 00:45:40,200
There is a Keith Richards' sound
786
00:45:40,200 --> 00:45:43,000
and a Keith Richards'
approach to the guitar
787
00:45:43,000 --> 00:45:45,440
that just is unlike
anything that
788
00:45:45,440 --> 00:45:47,880
I've ever heard from anyone else.
789
00:45:47,880 --> 00:45:50,560
There's a certain type of way that
he plays in the middle of the neck
790
00:45:50,560 --> 00:45:53,120
and a certain hammering, slashing.
791
00:45:53,120 --> 00:45:55,760
War, children
792
00:45:55,760 --> 00:45:57,160
It's a just a shot away...
793
00:45:57,160 --> 00:46:01,760
I just love riffs. I just love
a great...connection of notes
794
00:46:01,760 --> 00:46:06,640
that can repeat themselves over
and over without being monotonous,
795
00:46:06,640 --> 00:46:09,960
without being boring,
and that's what a good riff is.
796
00:46:09,960 --> 00:46:12,960
It's the same old thing
but it keeps changing.
797
00:46:16,960 --> 00:46:18,960
People will still be
trying
798
00:46:18,960 --> 00:46:20,480
to play what he plays
799
00:46:20,480 --> 00:46:22,520
50 years from now.
800
00:46:22,520 --> 00:46:24,960
There won't be another.
801
00:46:24,960 --> 00:46:28,720
GUITAR SOLO
802
00:46:33,320 --> 00:46:36,760
It's tough to characterise
Keith Richards' guitar playing.
803
00:46:36,760 --> 00:46:44,720
I believe it's a really organic
extension of who he is, of his soul.
804
00:46:44,720 --> 00:46:48,800
It's no different than speaking,
it's no different than walking.
805
00:46:48,800 --> 00:46:53,080
It's just a musical manifestation
of who he is
806
00:46:53,080 --> 00:46:55,920
and not all musicians are like that.
807
00:46:57,440 --> 00:47:02,240
Keith's always known
what he wants on the guitar.
808
00:47:02,240 --> 00:47:06,320
The way he plays is
he establishes the sound first -
809
00:47:06,320 --> 00:47:08,960
with Pierre, his guitar tech -
810
00:47:08,960 --> 00:47:13,960
and various ways of achieving
the desired effect.
811
00:47:16,760 --> 00:47:19,000
This is where he picks.
812
00:47:19,000 --> 00:47:21,280
It's so worn out that some
of the dots have come out.
813
00:47:21,280 --> 00:47:22,880
He's lost a tooth here.
814
00:47:22,880 --> 00:47:24,240
HE CHUCKLES
815
00:47:24,240 --> 00:47:26,960
This actually looks scalloped,
but it's not,
816
00:47:26,960 --> 00:47:28,360
it's just for how worn out it is.
817
00:47:28,360 --> 00:47:30,480
He's actually wearing out
the fingerboard here,
818
00:47:30,480 --> 00:47:34,720
and that's typical of where
he strums - up in this region.
819
00:47:34,720 --> 00:47:36,840
It's great when you see
the person
820
00:47:36,840 --> 00:47:39,040
that you listened to so
many years ago
821
00:47:39,040 --> 00:47:41,880
still having a relationship
with their instrument.
822
00:47:43,120 --> 00:47:44,840
You've got five strings.
823
00:47:44,840 --> 00:47:47,880
There's only three notes
because there's two doubles,
824
00:47:47,880 --> 00:47:50,960
two sets of Ds,
two sets of Gs, and a B.
825
00:47:50,960 --> 00:47:54,840
So, the way it rings,
the way certain things ring,
826
00:47:54,840 --> 00:47:57,680
you don't hear that
on a normal guitar.
827
00:47:57,680 --> 00:47:59,960
It's definitely
not about filling it up.
828
00:48:01,200 --> 00:48:04,280
If you're still thinking about
what you can add
829
00:48:04,280 --> 00:48:06,680
instead of what you need
to take away,
830
00:48:06,680 --> 00:48:09,600
you're still at
the beginning stages.
831
00:48:09,600 --> 00:48:14,880
I didn't want to be a guitar player.
I wanted to make...noise
832
00:48:14,880 --> 00:48:18,680
and if it took using a guitar
to do it, I'd do it.
833
00:48:18,680 --> 00:48:22,800
I became a pretty good one
in...in some respects.
834
00:48:22,800 --> 00:48:26,160
I suppose, really, I'm saying
that I use the guitar really
835
00:48:26,160 --> 00:48:28,520
as a percussion instrument.
836
00:48:28,520 --> 00:48:30,360
It's a rhythm thing for me.
837
00:48:30,360 --> 00:48:33,360
Erm...I do love, you know,
playing solos,
838
00:48:33,360 --> 00:48:37,520
but I've always said to myself
that solos come and go,
839
00:48:37,520 --> 00:48:39,880
a riff lasts forever.
840
00:48:39,880 --> 00:48:41,800
HE LAUGHS
841
00:48:41,800 --> 00:48:44,000
You know, it sort of rounds it off.
842
00:48:44,000 --> 00:48:46,080
It doesn't sound wrong
if it doesn't rhyme.
843
00:48:46,080 --> 00:48:48,120
Play us a quick one.
844
00:48:48,120 --> 00:48:49,360
Really?
845
00:48:49,360 --> 00:48:53,280
KEITH STRUMS GUITAR
846
00:48:53,280 --> 00:49:00,520
MICK VOCALISES WITH GUITAR
847
00:49:01,760 --> 00:49:04,880
Mick and I in those days
used to sit around with guitars
848
00:49:04,880 --> 00:49:07,080
and we'd write, that's what we did.
849
00:49:07,080 --> 00:49:10,520
I know you find it hard
850
00:49:10,520 --> 00:49:12,680
To reason with me
851
00:49:12,680 --> 00:49:15,600
Ba-ba, ba-ba-ba
852
00:49:15,600 --> 00:49:18,600
But this time it's different, oh
853
00:49:18,600 --> 00:49:20,440
Ba-ba-ba
854
00:49:20,440 --> 00:49:23,440
Darling, you'll see
855
00:49:23,440 --> 00:49:27,680
You got to tell me
you're coming back to me...
856
00:49:27,680 --> 00:49:31,880
Writing songs and making records,
it's like a jigsaw puzzle.
857
00:49:31,880 --> 00:49:33,840
There's always that thing of
858
00:49:33,840 --> 00:49:36,800
not quite knowing
what's going to come up next.
859
00:49:39,080 --> 00:49:44,040
When it all locks into position,
it is quite an incredible sensation
860
00:49:44,040 --> 00:49:50,000
and everybody that's involved
in doing that when it's happening
861
00:49:50,000 --> 00:49:54,880
knows that for a moment you're
in a special place, a special time
862
00:49:54,880 --> 00:49:57,480
and, you know, you feel...
863
00:49:57,480 --> 00:50:00,680
actually where you feel very
privileged to actually be there.
864
00:50:03,920 --> 00:50:06,960
Every great song is born
of conversation.
865
00:50:08,600 --> 00:50:13,480
It really takes the two of them to
create that synergy and that energy.
866
00:50:14,960 --> 00:50:17,280
I mean, they're the perfect
yin and yang.
867
00:50:17,280 --> 00:50:21,200
Mick is the guy that brings it.
Keith is the guy that holds it down.
868
00:50:22,560 --> 00:50:25,680
That rhythm is undeniable.
869
00:50:28,400 --> 00:50:30,880
I mean, he's the guy that
took Chuck Berry
870
00:50:30,880 --> 00:50:33,440
and took Johnnie Johnson's
whole thing
871
00:50:33,440 --> 00:50:36,040
and brought it to a rock guitar
and an open tuning.
872
00:50:39,320 --> 00:50:41,200
You can write great songs
with people
873
00:50:41,200 --> 00:50:45,960
but when there is a dynamic there
that's bigger than the two of you,
874
00:50:45,960 --> 00:50:48,080
that's where the great stuff lives.
875
00:50:50,240 --> 00:50:52,760
It's the kind of a band
876
00:50:52,760 --> 00:50:56,600
that was built on "we",
not "me".
877
00:50:56,600 --> 00:51:03,120
It took the chemistry of
all of them to make it work.
878
00:51:04,200 --> 00:51:09,040
You can't say, "Oh, if I wrote
Angie, it's like, listen to this."
879
00:51:09,040 --> 00:51:12,240
And Keith's like, "That's a load of
shit, I want to write blues."
880
00:51:12,240 --> 00:51:14,120
No, it's the other way around.
881
00:51:14,120 --> 00:51:17,040
It's Keith saying,
"Listen to this melody."
882
00:51:18,160 --> 00:51:20,520
And I'm going... I could say,
883
00:51:20,520 --> 00:51:23,880
"That's not the blues.
That's...that's like...
884
00:51:23,880 --> 00:51:26,440
"that's bordering saccharine
ballads, you know."
885
00:51:26,440 --> 00:51:29,560
But I didn't say that, of course,
it's a very beautiful song.
886
00:51:29,560 --> 00:51:31,120
So, what I'm trying to say is
887
00:51:31,120 --> 00:51:33,640
that The Rolling Stones
are many, many things.
888
00:51:33,640 --> 00:51:36,640
And one of the good things
about The Rolling Stones is that
889
00:51:36,640 --> 00:51:39,000
they embrace a lot of
kinds of music.
890
00:51:39,000 --> 00:51:42,120
Yes, they're a blues band.
Yes, they're a rock band.
891
00:51:42,120 --> 00:51:44,080
Yes, they did things
like Paint It Black.
892
00:51:44,080 --> 00:51:46,600
Yes, they did like classic rock.
893
00:51:46,600 --> 00:51:48,320
Yes, they did dance songs.
894
00:51:48,320 --> 00:51:50,400
You have to push innovation a bit
sometimes
895
00:51:50,400 --> 00:51:53,480
because people get older, they
just want to stick in one thing.
896
00:51:56,080 --> 00:51:59,960
I think with Mick and
Keith over the years,
897
00:51:59,960 --> 00:52:01,720
they have an acceptance,
you know,
898
00:52:01,720 --> 00:52:03,280
a total respect for each other
899
00:52:03,280 --> 00:52:05,840
in terms of what they both
bring to the band.
900
00:52:06,880 --> 00:52:09,960
And I think it's valid, actually,
to think that
901
00:52:09,960 --> 00:52:13,600
Mick has always been
the one driving them forward.
902
00:52:13,600 --> 00:52:16,520
It's always been Keith
that's been aware of
903
00:52:16,520 --> 00:52:18,480
the credibility of
the music they're making
904
00:52:18,480 --> 00:52:22,520
to make sure
it continues to be rooted.
905
00:52:24,200 --> 00:52:27,520
Keith had said, "Listen,
we are still this blues band,
906
00:52:27,520 --> 00:52:32,320
"irrespective of the pyrotechnics
and 200,000 people in the audience.
907
00:52:32,320 --> 00:52:37,360
"We're still that band that played
The Marquee in 1962 to 100 people."
908
00:52:38,840 --> 00:52:40,640
That is Keith looking back
909
00:52:40,640 --> 00:52:44,240
and holding on to
that rare musical depth
910
00:52:44,240 --> 00:52:46,080
and Mick propelling the band
911
00:52:46,080 --> 00:52:48,640
into whatever the future
may bring for them.
912
00:52:50,760 --> 00:52:53,760
CROWD SINGING
913
00:52:55,000 --> 00:52:58,920
If it comes out of The Rolling
Stones, it's The Rolling Stones.
914
00:52:58,920 --> 00:53:01,640
Now and again, Mick and I
have come up with a song...
915
00:53:01,640 --> 00:53:03,000
HE LAUGHS
916
00:53:03,000 --> 00:53:05,120
..looked at each other and gone,
917
00:53:05,120 --> 00:53:08,600
"No, not The Stones, no, no!"
918
00:53:08,600 --> 00:53:12,000
Please allow me
to introduce myself
919
00:53:12,000 --> 00:53:14,000
I'm a man of wealth and taste...
920
00:53:14,000 --> 00:53:16,120
There are few
songwriting partnerships
921
00:53:16,120 --> 00:53:18,720
to match Jagger and Richards.
922
00:53:18,720 --> 00:53:21,640
And despite their fair share
of disagreements,
923
00:53:21,640 --> 00:53:26,320
their relationship has endured
against all the odds.
924
00:53:26,320 --> 00:53:29,720
And I was 'round when Jesus Christ
925
00:53:29,720 --> 00:53:33,320
Had his moment of
doubt and pain...
926
00:53:35,040 --> 00:53:41,720
You had this image of those two guys
being the first real example
927
00:53:41,720 --> 00:53:45,920
of a lead singer/lead guitar
player relationship.
928
00:53:45,920 --> 00:53:48,440
Pleased to meet you
929
00:53:48,440 --> 00:53:51,480
Hope you guess my name
930
00:53:53,840 --> 00:53:59,960
But what's confusing you
Is just the nature of my game
931
00:54:03,840 --> 00:54:06,520
Stuck around St Petersburg...
932
00:54:06,520 --> 00:54:08,160
Mick wants to be the
leader.
933
00:54:08,160 --> 00:54:09,840
He's the leader of
the pack.
934
00:54:11,520 --> 00:54:13,840
Keith doesn't give a fuck
about being a leader
935
00:54:13,840 --> 00:54:15,680
but he thinks he really is.
936
00:54:17,000 --> 00:54:18,920
They're completely different.
937
00:54:18,920 --> 00:54:20,480
Mick wants to try new
things.
938
00:54:20,480 --> 00:54:24,400
He is very much a part of
whatever's going on.
939
00:54:24,400 --> 00:54:27,160
Keith is technophobic.
940
00:54:27,160 --> 00:54:32,160
That is one of the things that
still makes the edge between them.
941
00:54:32,160 --> 00:54:34,480
We all have separate lives,
separate identities,
942
00:54:34,480 --> 00:54:37,320
and musically, they're yin and yang.
943
00:54:39,200 --> 00:54:41,240
They're joined at the hip.
944
00:54:41,240 --> 00:54:42,480
Has there been times when
the
945
00:54:42,480 --> 00:54:43,880
disagreements have flared
up?
946
00:54:43,880 --> 00:54:45,200
Of course there has.
947
00:54:45,200 --> 00:54:48,240
But I think you take a deep breath,
you look at each other and say,
948
00:54:48,240 --> 00:54:50,600
"Wait a minute. Last time I checked,
949
00:54:50,600 --> 00:54:53,480
"the whole is greater
than the sum of its parts."
950
00:54:58,960 --> 00:55:00,840
Even at times when Mick and Keith
951
00:55:00,840 --> 00:55:03,600
weren't at their best
relationship-wise,
952
00:55:03,600 --> 00:55:06,560
I would dare you
to get between them.
953
00:55:06,560 --> 00:55:10,040
There's a bond there
that can't be broken.
954
00:55:10,040 --> 00:55:13,200
To do it for this long, Mick and I
both look at each other...
955
00:55:13,200 --> 00:55:14,600
HE CHUCKLES
956
00:55:14,600 --> 00:55:17,680
We must be doing something right!
I don't know what it is.
957
00:55:19,160 --> 00:55:24,480
The idea of turning people on
for 60 years is like, whoa!
958
00:55:24,480 --> 00:55:26,120
HE LAUGHS
959
00:55:26,120 --> 00:55:28,560
But the thing is relentless.
960
00:55:28,560 --> 00:55:31,760
It's like being a juggernaut.
961
00:55:31,760 --> 00:55:33,840
Guess my name...
962
00:55:38,800 --> 00:55:43,040
You see them walk to the stage
as older guys,
963
00:55:43,040 --> 00:55:44,520
and they climb the stairs,
964
00:55:44,520 --> 00:55:46,720
and each stair,
965
00:55:46,720 --> 00:55:49,520
another piece of energy comes up.
966
00:55:51,240 --> 00:55:52,560
And then, they go out.
967
00:55:53,680 --> 00:55:55,360
It's like a shot of lightning.
968
00:55:55,360 --> 00:55:57,840
Just call me Lucifer...
969
00:55:57,840 --> 00:55:59,560
It's like going to
Never Never Land.
970
00:55:59,560 --> 00:56:02,800
I'm in need of some restraint
971
00:56:02,800 --> 00:56:05,360
So if you meet me
972
00:56:05,360 --> 00:56:07,280
Have some courtesy
973
00:56:07,280 --> 00:56:10,920
Sympathy and some taste...
974
00:56:12,200 --> 00:56:14,120
The music comes first.
975
00:56:14,120 --> 00:56:17,360
Writing, recording,
performing music -
976
00:56:17,360 --> 00:56:19,880
that's where they're at.
977
00:56:19,880 --> 00:56:25,120
When they finally step off the stage
for the last time,
978
00:56:25,120 --> 00:56:30,000
we will all know that we shall never
see anything like that ever again.
979
00:56:30,000 --> 00:56:32,320
Yes...
980
00:56:32,320 --> 00:56:37,560
What's confusing you
Is just the nature of my game
981
00:56:38,680 --> 00:56:40,120
Yes...
982
00:56:41,640 --> 00:56:43,160
CROWD NOISE
983
00:56:43,160 --> 00:56:44,720
Come on!
984
00:56:44,720 --> 00:56:46,000
Yeah!
985
00:56:46,000 --> 00:56:48,920
MUSIC CONTINUES, CROWD CHEERING
986
00:57:05,440 --> 00:57:08,600
I mean, God knows what I'd have been
like if I didn't do this -
987
00:57:08,600 --> 00:57:10,120
my wildest nightmare.
988
00:57:12,880 --> 00:57:15,160
Really, all you wanted to do
was play music,
989
00:57:15,160 --> 00:57:18,920
trying to get it better,
trying to get the band tighter.
990
00:57:18,920 --> 00:57:21,600
MUSIC ENDS, CROWD ROARS
991
00:57:26,840 --> 00:57:29,040
Not many people get
a chance to do this
992
00:57:29,040 --> 00:57:32,280
with thousands of people,
you know, as a job.
993
00:57:32,280 --> 00:57:34,400
CROWD CHEERS
994
00:57:35,840 --> 00:57:40,640
CROWD CHANTS: Ole, ole, ole, ole!
995
00:57:44,840 --> 00:57:47,840
You know, when you're exchanging
that much appreciation
996
00:57:47,840 --> 00:57:52,320
to each other,
it is profoundly touching.
997
00:57:55,960 --> 00:57:58,160
Music is a resilient thing.
998
00:57:58,160 --> 00:58:00,080
And sometimes I think,
999
00:58:00,080 --> 00:58:03,240
God, is it the only thing we've got
that we can trust?
1000
00:58:03,240 --> 00:58:04,480
HE CHUCKLES
1001
00:58:06,120 --> 00:58:10,040
CROWD CONTINUES TO ROAR, WHISTLING
1002
00:58:13,000 --> 00:58:16,800
I gave up many years ago
trying to analyse this bunch
1003
00:58:16,800 --> 00:58:19,200
and why it works and how it works.
1004
00:58:22,200 --> 00:58:25,760
I've found the best remedy is
to put them all together in a room
1005
00:58:25,760 --> 00:58:29,000
and say, "It goes like this -
one, two, three, four,"
1006
00:58:29,000 --> 00:58:31,160
and all the problems go away.
1007
00:58:31,160 --> 00:58:34,160
CROWD CONTINUES CHEERING
1008
00:58:34,210 --> 00:58:38,760
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