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1
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Life's a funny thing, you know.
2
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But I've always thought 30 was about it.
3
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Beyond that would be
horrible to be alive.
4
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Until I got to be 31.
5
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Then, "Why, I ain't so shabby," you know.
[laughs]
6
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"I'll hang in a while."
7
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As you go along, you realize that
this whole concept of growing up is...
8
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You're not grown up until the day
they put you six feet under.
9
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You're never grown up.
10
00:02:00,900 --> 00:02:02,900
["Blue and Lonesome" playing]
11
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♪ I'm blue and lonesome ♪
12
00:02:20,500 --> 00:02:23,100
♪ As a man can be ♪
13
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♪ I'm blue and lonesome ♪
14
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♪ Whoa-oh ♪
15
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♪ As a man can be ♪
16
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You don't get bluer than that.
17
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Man, that's bad stuff.
18
00:02:44,300 --> 00:02:46,200
♪ I don't have headaches over myself ♪
19
00:02:46,200 --> 00:02:48,900
[Richards] The power of the blues
was a mind blower.
20
00:02:48,900 --> 00:02:52,900
♪ My love is gone away from me ♪
21
00:02:53,000 --> 00:02:55,700
Anybody who could make a sound like that
is all right with me.
22
00:02:55,800 --> 00:02:57,500
[chuckles] You know what I mean?
23
00:03:01,900 --> 00:03:05,300
For me, music is like
the center of everything.
24
00:03:06,500 --> 00:03:12,100
It's something that binds people together
through centuries, through millennium.
25
00:03:13,300 --> 00:03:15,300
It's undefinable.
26
00:03:15,900 --> 00:03:18,200
And nobody's ever
going to have the answer to it,
27
00:03:18,300 --> 00:03:20,200
but it's great fun exploring.
28
00:03:37,400 --> 00:03:38,500
[Richards chuckles]
29
00:03:38,600 --> 00:03:40,600
-Anthony, how are you?
-How are you?
30
00:03:40,700 --> 00:03:41,800
-[Richards] Cool, man.
-Once again.
31
00:03:41,900 --> 00:03:43,900
Once more into the breach.
32
00:03:44,000 --> 00:03:45,000
[Richards] How you been, Anthony?
33
00:03:45,100 --> 00:03:46,900
-I'm very well, thank you.
-Yeah.
34
00:03:47,800 --> 00:03:50,000
So, Keith, I've been enjoying
your new music.
35
00:03:50,800 --> 00:03:53,700
Why don't you tell me a little bit
about getting it going?
36
00:03:53,800 --> 00:03:56,800
You know, what made you
decide to jump back in?
37
00:03:56,900 --> 00:03:58,900
I've been thinking about that.
38
00:03:59,000 --> 00:04:01,700
You know,
I think it coincided with the fact
39
00:04:01,800 --> 00:04:05,400
that I was doing the book, you know...
40
00:04:05,500 --> 00:04:08,500
-Second only to the Bible.
-[both chuckle]
41
00:04:08,600 --> 00:04:10,100
You know...
42
00:04:11,900 --> 00:04:13,600
And The Stones had one of their...
43
00:04:13,700 --> 00:04:17,500
where they suddenly go into hibernation
for about five years.
44
00:04:17,600 --> 00:04:23,100
'Cause we... The Stones had been
working a lot until about 2007.
45
00:04:23,200 --> 00:04:27,000
And I was kind of itching
to get back in the studio.
46
00:04:28,400 --> 00:04:30,000
I love recording, you see.
47
00:04:30,100 --> 00:04:34,300
Any studio,
I feel totally at home there.
48
00:04:34,300 --> 00:04:37,600
Everywhere else, you know, is, you know...
there's the bags.
49
00:04:37,700 --> 00:04:40,000
[Steve Jordan] Should we get
another mic in there?
50
00:04:40,100 --> 00:04:42,300
-Or should we just move the ribbon closer?
-[Richards] No, listen...
51
00:04:42,400 --> 00:04:43,900
Play a couple things.
52
00:04:44,000 --> 00:04:45,600
[guitar playing]
53
00:04:48,000 --> 00:04:49,400
That's better, right?
54
00:04:51,400 --> 00:04:55,600
[Richards] And the next thing I know,
Steve Jordan came to me, and he said,
55
00:04:55,700 --> 00:04:58,200
"How about just the two of us
go in the studio,
56
00:04:58,300 --> 00:05:01,500
you know, just you and me,
and we'll cut a couple of tracks?
57
00:05:01,600 --> 00:05:03,800
Just, you know, see what happens."
58
00:05:04,600 --> 00:05:07,200
[Jordan] He said something
and it was kind of shocking.
59
00:05:07,300 --> 00:05:09,500
And I asked him
never to say that again.
60
00:05:09,600 --> 00:05:12,000
He said, "Well, you know,
I've done all of this...
61
00:05:12,100 --> 00:05:13,800
and now the book and everything."
62
00:05:13,900 --> 00:05:15,200
He hadn't been playing.
63
00:05:15,300 --> 00:05:19,600
And he was like, "You know, maybe
I should, like, retire," kinda thing.
64
00:05:19,700 --> 00:05:22,900
-Yeah.
-At which I completely freaked out.
65
00:05:23,000 --> 00:05:24,100
[laughing] I said,
"What are you talking about?"
66
00:05:24,200 --> 00:05:26,400
I was talking in my sleep.
67
00:05:26,500 --> 00:05:28,300
I said,
"What are you talking about?"
68
00:05:28,400 --> 00:05:30,500
[man 1] Can you get it? Yeah.
[man 2] Yep.
69
00:05:30,600 --> 00:05:33,100
[man 1] Yeah, it's a little boomy.
[man 2] Uh-huh.
70
00:05:35,100 --> 00:05:40,400
[Tom Waits] Musically, what I noticed
about Keith, is he's really big on detail.
71
00:05:40,500 --> 00:05:43,100
And you have to be if you're...
72
00:05:44,200 --> 00:05:46,800
an archeologist and you're,
you know...
73
00:05:46,900 --> 00:05:50,000
You insist on locality data, you know.
74
00:05:50,000 --> 00:05:51,900
Not only where something came from,
75
00:05:52,000 --> 00:05:56,000
but what are the principles
and the properties of it.
76
00:05:56,100 --> 00:05:57,700
And he...
77
00:05:57,800 --> 00:06:01,800
He's like a... like a London cabbie
who has The Knowledge.
78
00:06:01,900 --> 00:06:05,100
-[man] Yeah, yeah.
-Only he has that in music, you know.
79
00:06:09,100 --> 00:06:11,000
[Richards] I realized,
as I was doing this stuff,
80
00:06:11,100 --> 00:06:14,500
how much steeped I am
in American folk music,
81
00:06:14,600 --> 00:06:16,600
in jazz and blues.
82
00:06:16,700 --> 00:06:20,000
That's the stuff that America
has given the rest of the world.
83
00:06:20,100 --> 00:06:23,100
You know, far bigger than H-bombs.
[chuckles]
84
00:06:32,600 --> 00:06:34,600
♪ I love my sugar ♪
85
00:06:34,700 --> 00:06:38,400
♪ But I love my honey, too ♪
86
00:06:38,500 --> 00:06:40,500
♪ I'm a greedy motherfucker ♪
87
00:06:40,500 --> 00:06:42,700
♪ And I don't know what to do ♪
88
00:06:42,800 --> 00:06:47,100
♪ I've got a crosseyed heart ♪
89
00:06:48,800 --> 00:06:53,400
[Richards] Crosseyed Heart, I'm doing
a lot of the tipping of the hat to people.
90
00:06:53,500 --> 00:06:55,200
And this was to Robert Johnson.
91
00:06:55,300 --> 00:06:58,100
♪ Ooh, she's so sweet ♪
92
00:06:58,200 --> 00:07:00,900
♪ And she drives me
round the bend ♪
93
00:07:02,100 --> 00:07:04,000
♪ I go in the corner, baby ♪
94
00:07:04,100 --> 00:07:06,200
♪ And find another friend ♪
95
00:07:06,300 --> 00:07:10,400
♪ I got a crosseyed heart ♪
96
00:07:19,800 --> 00:07:22,500
[Richards] I grew up listening
basically to American music,
97
00:07:22,600 --> 00:07:24,300
even though I was in England.
98
00:07:24,300 --> 00:07:25,400
And through that,
99
00:07:25,500 --> 00:07:30,200
I guess I realized that an awful lot
of American music, blues included,
100
00:07:30,300 --> 00:07:34,800
relied a lot upon old Celtic melodies,
101
00:07:34,900 --> 00:07:38,000
Irish, Scottish, English, Welsh,
102
00:07:38,100 --> 00:07:40,800
that became part of this country,
you know.
103
00:07:40,900 --> 00:07:44,400
So to me, it was translatable easily.
104
00:07:44,400 --> 00:07:46,800
When I first heard
Robert Johnson and Lead Belly,
105
00:07:46,900 --> 00:07:50,200
and I'm hearing an echo...
106
00:07:50,300 --> 00:07:51,800
You know, I'm hearing...
107
00:07:51,900 --> 00:07:54,700
In my bones, I'm hearing
108
00:07:54,700 --> 00:07:56,800
an echo that I shouldn't be hearing
109
00:07:56,900 --> 00:07:59,600
because it's not within earshot.
110
00:07:59,700 --> 00:08:02,100
Which is one of the reasons
I wanted to start this thing off
111
00:08:02,200 --> 00:08:03,500
with the blues, you know.
112
00:08:03,500 --> 00:08:07,000
I mean, I ain't a pop star no more,
you know.
113
00:08:07,100 --> 00:08:09,300
I don't wanna be.
[laughs]
114
00:08:12,600 --> 00:08:15,700
See, I swore... You know,
I thought it was in E, for Christ's sake.
115
00:08:15,800 --> 00:08:16,800
I mean, I swore...
116
00:08:16,900 --> 00:08:21,800
I would have gone to the grave saying
that I played this in E, man, until today.
117
00:08:21,900 --> 00:08:23,800
[radio tuning]
118
00:08:26,300 --> 00:08:31,200
[Richards] My mum was a beautiful
music freak with incredible taste.
119
00:08:31,300 --> 00:08:35,900
We only had, like, two radio stations
in the whole country, you know.
120
00:08:36,000 --> 00:08:38,400
And she was a wizard of the dial.
121
00:08:38,500 --> 00:08:42,300
If there was anything worth listening to,
she would find it.
122
00:08:42,400 --> 00:08:43,900
[jazz playing on radio]
123
00:08:45,700 --> 00:08:51,700
Sarah Vaughan and Ella Fitzgerald
were her two top thrushes.
124
00:08:51,800 --> 00:08:52,900
[laughs]
125
00:08:54,200 --> 00:08:57,900
I liked Billie Holiday.
Billie had more edge on it for me.
126
00:08:57,900 --> 00:09:01,300
But still, that's what I grew up with.
You know what I mean?
127
00:09:02,000 --> 00:09:03,300
Louis Armstrong...
128
00:09:04,400 --> 00:09:05,800
Billy Eckstine...
129
00:09:07,100 --> 00:09:09,500
and a little dash of Mozart
here and there.
130
00:09:10,900 --> 00:09:12,600
And then all the usual rubbish.
131
00:09:12,700 --> 00:09:15,700
Whatever they played on radio.
132
00:09:15,700 --> 00:09:18,000
You know, the stuff
you couldn't avoid, you know.
133
00:09:18,100 --> 00:09:21,400
♪ I'm a pink toothbrush
You're a blue toothbrush ♪
134
00:09:21,500 --> 00:09:23,500
[man singing]
♪ You're a pink toothbrush ♪
135
00:09:23,600 --> 00:09:28,500
♪ And I think, toothbrush,
that we met by the bathroom door ♪
136
00:09:28,500 --> 00:09:30,900
[Richards] All of that crap, you know?
I mean, the '50s,
137
00:09:31,000 --> 00:09:33,800
which is, all right,
great rubbish, in retrospect.
138
00:09:43,300 --> 00:09:45,900
Growing up in England,
just after the war,
139
00:09:46,000 --> 00:09:48,200
there was rubble everywhere.
140
00:09:48,200 --> 00:09:52,600
I was not aware that there was any
other world apart from bombed out ruins.
141
00:09:52,700 --> 00:09:54,000
["Baby Let's Play House" playing]
142
00:09:54,100 --> 00:09:56,700
And then, suddenly, Elvis.
He hit like a bombshell.
143
00:09:56,800 --> 00:10:00,800
"Baby Let's Play House" was around then,
and it really cooked me.
144
00:10:01,500 --> 00:10:04,000
The world went from black-and-white
to Technicolor.
145
00:10:04,000 --> 00:10:06,800
♪ Well, you may go to college ♪
146
00:10:06,800 --> 00:10:08,900
♪ You may go to school ♪
147
00:10:09,000 --> 00:10:10,900
♪ You may have a pink Cadillac ♪
148
00:10:11,000 --> 00:10:12,900
♪ But don't you be nobody's fool ♪
149
00:10:13,000 --> 00:10:15,700
♪ Now baby, come back, baby, come ♪
150
00:10:15,800 --> 00:10:18,600
♪ Come back, baby,
I wanna play house with you ♪
151
00:10:19,400 --> 00:10:21,700
[Richards] America looked very attractive.
152
00:10:21,800 --> 00:10:22,800
[laughs]
153
00:10:23,800 --> 00:10:25,700
All the movies.
154
00:10:25,800 --> 00:10:29,200
We got what you guys saw,
like, a year before.
155
00:10:30,100 --> 00:10:31,400
Especially if you're into music.
156
00:10:31,500 --> 00:10:34,700
That was basically our lifeline
in those days,
157
00:10:34,800 --> 00:10:38,000
that sense of,
there's something happening,
158
00:10:38,100 --> 00:10:40,100
and you just wanna
be part of it, you know,
159
00:10:40,200 --> 00:10:43,500
and you jumped in with both feet.
At least, I did.
160
00:10:43,600 --> 00:10:47,200
♪ Come back, baby,
I wanna play house with you ♪
161
00:10:50,400 --> 00:10:52,000
[playing gentle melody]
162
00:11:04,400 --> 00:11:05,800
[Richards] Jim Hall.
163
00:11:07,600 --> 00:11:09,300
[Jordan] We love Jim Hall.
164
00:11:10,700 --> 00:11:13,000
-Jim, motherfucker.
-[laughs]
165
00:11:30,900 --> 00:11:34,200
[Richards] My grandfather, Gus,
he kinda teased me, man,
166
00:11:34,300 --> 00:11:37,400
over years, into becoming a guitarist.
167
00:11:38,300 --> 00:11:40,400
He was one of those guys
that always thought
168
00:11:40,400 --> 00:11:44,400
everybody was a musician
if they got the chance to be and...
169
00:11:44,500 --> 00:11:46,800
So I think he just left
the instruments lying about
170
00:11:46,900 --> 00:11:48,900
just to see if it caught the eye.
171
00:11:48,900 --> 00:11:52,300
And then he probably watched me
for a couple of years, you know,
172
00:11:52,400 --> 00:11:56,200
talking to him
and looking at the guitar and...
173
00:11:56,300 --> 00:11:59,000
'Cause I remember him saying,
"It's a pretty one, isn't it?
174
00:11:59,100 --> 00:12:00,200
It's nice, that.
175
00:12:00,300 --> 00:12:02,200
Yeah, when you can reach it...
176
00:12:03,100 --> 00:12:04,800
I'll let you play it," you know.
177
00:12:06,500 --> 00:12:08,600
Once he did give me the guitar,
178
00:12:08,700 --> 00:12:13,000
he said the best exercise
is the Spanish malaguena,
179
00:12:13,100 --> 00:12:17,100
because it's got a lot of moves in it
that make it great for the fingers.
180
00:12:17,100 --> 00:12:19,000
[playing malaguena]
181
00:12:28,300 --> 00:12:30,800
You're expanding yourself
without even knowing.
182
00:12:30,900 --> 00:12:35,600
And he was quite right,
because, you know, from learning that...
183
00:12:35,700 --> 00:12:37,600
'Cause I had to learn that
184
00:12:37,700 --> 00:12:40,700
in order to get the guitar, you know.
I mean...
185
00:12:40,700 --> 00:12:44,200
That meant I could walk into the house,
pick up the guitar and play with it.
186
00:12:44,300 --> 00:12:48,200
Until then, it would have to be
at invitation only.
187
00:12:53,900 --> 00:12:56,600
-[man] The story with the guitar...
-Oh, it's a...
188
00:12:56,700 --> 00:12:59,800
It's a late '50s Gibson ES-355.
189
00:12:59,900 --> 00:13:02,200
So, kind of a hot rod.
190
00:13:02,300 --> 00:13:05,700
He's always been known
for playing a black Gibson.
191
00:13:05,800 --> 00:13:07,100
For me, it looks like Keith.
192
00:13:07,200 --> 00:13:09,500
And as I just showed you,
when I opened the case,
193
00:13:09,600 --> 00:13:12,700
he said, "I'll have it." He didn't...
Nope. Just... He knew right away.
194
00:13:13,900 --> 00:13:16,000
I've been working with Keith
now since the '80s.
195
00:13:16,100 --> 00:13:19,000
I have full access to his guitar lockers
and can do what I want.
196
00:13:19,100 --> 00:13:21,800
I do often get to see guitars
and bring them to him.
197
00:13:23,400 --> 00:13:26,400
This is what Robert Johnson
would have played, the model and year.
198
00:13:26,500 --> 00:13:30,200
This is a 1928 L-1 Gibson, you know.
199
00:13:30,200 --> 00:13:33,700
And the scale length and the flat neck
and the width of the nut...
200
00:13:33,800 --> 00:13:35,000
It was a style of playing.
201
00:13:35,100 --> 00:13:37,200
So you can do
the finger style blues on this.
202
00:13:37,300 --> 00:13:40,000
It almost takes you there.
It makes you play that way.
203
00:13:40,100 --> 00:13:42,600
The notes last
the right amount of time.
204
00:13:42,700 --> 00:13:44,400
The balance between the high strings
205
00:13:44,500 --> 00:13:46,400
and what's going on
in the low-end, the snap...
206
00:13:48,500 --> 00:13:50,000
In the locker, unfinished project.
207
00:13:50,100 --> 00:13:53,900
National Guitar, right here,
in my inventory book of Keith's guitars.
208
00:13:54,000 --> 00:13:57,300
It says here,
"To be rebuilt and then maybe used."
209
00:13:57,400 --> 00:14:00,300
And I wrote a note,
"Kinda reminds me of Jimmy Reed."
210
00:14:00,800 --> 00:14:02,500
Dig it out, put some strings on it.
211
00:14:02,500 --> 00:14:04,200
And sometimes
I pick up an instrument
212
00:14:04,300 --> 00:14:06,900
and the sound
will take you to a different place.
213
00:14:07,000 --> 00:14:08,000
It's like a flavor.
214
00:14:08,100 --> 00:14:10,500
Steve and Keith walk in.
They think we're doing something else.
215
00:14:10,500 --> 00:14:14,000
We open the case.
Keith looks at it, "Oh, great. Hmm."
216
00:14:14,100 --> 00:14:16,000
"Check this out, Keith.
217
00:14:16,100 --> 00:14:18,800
This has been yours
since before I worked for you.
218
00:14:18,900 --> 00:14:19,900
It's never had strings on it.
219
00:14:20,000 --> 00:14:22,200
I found it in the locker,
I put strings on it."
220
00:14:23,600 --> 00:14:25,800
Next thing you know,
he's out there trying it.
221
00:14:25,800 --> 00:14:28,700
Steve's like, "Okay, if he's in, I'm in."
222
00:14:28,800 --> 00:14:32,200
They start playing, but the control room
is set for, you know...
223
00:14:32,300 --> 00:14:33,400
for a mix or something.
224
00:14:33,500 --> 00:14:35,600
There's no mic set.
People aren't ready for this.
225
00:14:35,700 --> 00:14:37,300
["Blues in the Morning" playing]
226
00:14:37,400 --> 00:14:39,000
"Blues in the Morning,"
that feeling...
227
00:14:39,100 --> 00:14:40,700
That was just him picking up the guitar.
228
00:14:40,800 --> 00:14:44,400
There was no second takes, no other tries.
It was just where we were going.
229
00:14:44,500 --> 00:14:46,200
[Richards singing]
♪ Got the blues in the morning ♪
230
00:14:46,200 --> 00:14:49,500
♪ I feel that's far too long ♪
231
00:14:51,000 --> 00:14:52,800
♪ Got the blues in the morning ♪
232
00:14:52,900 --> 00:14:56,300
♪ My baby
It's still too long ♪
233
00:14:57,700 --> 00:15:02,900
♪ It's hardcore, baby
but I gotta sing this song ♪
234
00:15:04,200 --> 00:15:05,500
[Richards] To us, in England,
235
00:15:05,600 --> 00:15:08,400
people like Mick and myself
and many others...
236
00:15:08,500 --> 00:15:12,900
Chuck arrived...
At the time, we were starving for music.
237
00:15:14,600 --> 00:15:16,400
The way that man hit us...
238
00:15:16,500 --> 00:15:18,300
I'm still recovering.
239
00:15:18,400 --> 00:15:23,100
Incredible lyrics,
an incredible devil-may-care attitude.
240
00:15:23,200 --> 00:15:26,400
He's influenced just about
every guitar player,
241
00:15:26,500 --> 00:15:30,500
even if they don't know it.
You know, I mean...
242
00:15:30,600 --> 00:15:34,500
not a lot of guys wanna play like Chuck
because it's like taking on the devil.
243
00:15:34,600 --> 00:15:36,800
I'll take it on, you know.
[laughs]
244
00:15:45,100 --> 00:15:47,900
Yeah, this is the beginning
of the Rolling Stones, you know.
245
00:15:48,000 --> 00:15:51,700
Yeah, and I'm holding
a full deck here, pals.
246
00:15:52,800 --> 00:15:56,400
That was the one
Mick had on the train, you know.
247
00:15:56,500 --> 00:15:59,400
I got on my morning train
to go to art school.
248
00:15:59,500 --> 00:16:03,200
I happened to hit the carriage
that Mick had just gotten into,
249
00:16:03,200 --> 00:16:04,900
and I hadn't seen him in years.
250
00:16:05,000 --> 00:16:09,800
And then I noticed,
tucked under his arm, like this, was...
251
00:16:11,300 --> 00:16:13,700
"Oh, yeah. Get out of here.
252
00:16:13,700 --> 00:16:17,000
Chuck Berry...
What you got there, man?"
253
00:16:17,100 --> 00:16:20,700
And then I said, "Come here!"
254
00:16:20,800 --> 00:16:24,600
You know, I thought
I was the only other guy in...
255
00:16:24,600 --> 00:16:26,500
you know, in the southeast of England
256
00:16:26,600 --> 00:16:31,100
that even knew anything
about this stuff, you know, and...
257
00:16:31,200 --> 00:16:34,300
So, I mean, by the time
we got off the train, you know,
258
00:16:34,400 --> 00:16:38,300
we've made a deal, you know.
I'm gonna... [chuckles]
259
00:16:38,400 --> 00:16:40,800
And that's how The Stones hooked,
260
00:16:40,900 --> 00:16:44,600
because of these very two records.
And that's it.
261
00:16:44,700 --> 00:16:48,700
Muddy, I had only heard, you know,
very few tracks of at the time.
262
00:16:48,800 --> 00:16:53,000
So this was a mind blower
to me, you know.
263
00:16:53,100 --> 00:16:57,900
[Muddy Waters singing]
♪ I don't want you to be no slave ♪
264
00:16:59,200 --> 00:17:03,900
♪ I don't want you to work all day ♪
265
00:17:05,200 --> 00:17:10,000
♪ I don't want you to be true ♪
266
00:17:11,300 --> 00:17:16,700
♪ I just want to make love to you ♪
267
00:17:16,800 --> 00:17:19,700
[Richards] When I first heard
The Best of Muddy Waters,
268
00:17:19,800 --> 00:17:23,300
it was the most powerful music
I'd ever heard.
269
00:17:23,400 --> 00:17:25,000
The most expressive.
270
00:17:25,100 --> 00:17:29,200
And I had listened to Mozart and,
you know, I had listened to Beethoven.
271
00:17:29,300 --> 00:17:33,300
This is on a par
with the best music in the world.
272
00:17:40,700 --> 00:17:43,800
The Stones, in their early days,
273
00:17:43,900 --> 00:17:48,300
all we wanted to do
was to turn other people on to this.
274
00:17:48,300 --> 00:17:51,800
[Mick Jagger singing]
♪ I don't want you to be no slave ♪
275
00:17:51,800 --> 00:17:55,800
♪ I don't want you to work all day ♪
276
00:17:55,800 --> 00:17:59,100
♪ I don't want you to be true ♪
277
00:17:59,200 --> 00:18:03,100
♪ I just wanna make love to you, baby ♪
278
00:18:03,200 --> 00:18:06,200
[Richards] We knew we're never gonna
be able to play it like Muddy.
279
00:18:06,300 --> 00:18:08,400
So let's just, like, juke it up.
280
00:18:08,500 --> 00:18:12,500
We sped it up, we did it real fast.
And everybody got into it.
281
00:18:12,600 --> 00:18:16,200
♪ I can see by the way that,
baby, you talk ♪
282
00:18:16,300 --> 00:18:20,100
♪ And I know by the way
that you treat your man ♪
283
00:18:20,200 --> 00:18:24,300
♪ I could love you, baby,
it's a cryin' shame ♪
284
00:18:24,400 --> 00:18:28,300
♪ I don't want you to cook my bread ♪
285
00:18:29,300 --> 00:18:31,500
[Richards] We've never wanted
to make pop music.
286
00:18:31,600 --> 00:18:37,200
Our puritanical mission
was to turn other people on to the blues.
287
00:18:37,300 --> 00:18:39,500
At the same time, we realized
288
00:18:39,600 --> 00:18:42,600
that we turned America
back on to its own music,
289
00:18:42,700 --> 00:18:45,600
which was, like, far beyond the agenda.
290
00:18:45,700 --> 00:18:47,000
[laughs]
291
00:18:47,100 --> 00:18:51,900
♪ I wanna make love to you ♪
292
00:18:53,200 --> 00:18:55,400
[audience clapping and cheering]
293
00:19:07,800 --> 00:19:09,800
The Rolling Stones.
Aren't they great?
294
00:19:09,900 --> 00:19:11,100
[audience laughing]
295
00:19:11,200 --> 00:19:13,300
Unbelievable.
296
00:19:16,000 --> 00:19:17,000
-[Richards] Hey, guys.
-What's up, boss?
297
00:19:17,100 --> 00:19:18,100
How are you guys?
How're we doing?
298
00:19:18,200 --> 00:19:20,400
-Alright?
-Thank you, Keith.
299
00:19:20,500 --> 00:19:21,500
Awesome.
300
00:19:21,600 --> 00:19:22,800
-How you doing?
-Great show the other...
301
00:19:22,900 --> 00:19:24,300
-I'm doing fabulous.
-Yes, sir. Great show.
302
00:19:24,400 --> 00:19:25,700
-Alright. Yeah, yeah.
-Great book, brother.
303
00:19:25,800 --> 00:19:26,900
Cool, brother.
304
00:19:26,900 --> 00:19:28,000
How you doing, Keith?
305
00:19:28,100 --> 00:19:29,400
-We're doing alright, man.
-Good.
306
00:19:29,500 --> 00:19:31,900
-Right on. Thank you.
-We're all alright, you know.
307
00:19:31,900 --> 00:19:34,200
[Richards] On the road, I feel at home.
308
00:19:34,200 --> 00:19:39,400
Being backstage or being onstage,
you know, it's... familiar.
309
00:19:39,500 --> 00:19:41,000
[man] Thank you.
[Richards] There you go, pal.
310
00:19:41,100 --> 00:19:42,100
-Okay.
-[woman] Can I get a high five?
311
00:19:42,200 --> 00:19:44,300
Hi, baby. [laughs]
312
00:19:45,900 --> 00:19:50,200
I left home at 17
in a cloud of disgrace,
313
00:19:50,300 --> 00:19:54,300
without getting, you know,
my dad's okay.
314
00:19:54,400 --> 00:19:58,900
And so the road became
a second home to me, you know.
315
00:20:00,800 --> 00:20:03,100
[man 1] You brought the sun out.
[man 2] Ronnie, how are you?
316
00:20:04,100 --> 00:20:06,400
[Richards] And I'm looking forward
still to some great gigs.
317
00:20:06,400 --> 00:20:10,200
I mean, I really enjoyed
playing in the heartland.
318
00:20:10,300 --> 00:20:15,300
They're the places we used to drive around
in the station wagon 50 years ago.
319
00:20:15,400 --> 00:20:16,700
[laughs]
320
00:20:16,800 --> 00:20:19,200
["It's All Over Now" playing]
321
00:20:19,200 --> 00:20:22,700
America is the biggest market
in the goddamn world.
322
00:20:22,800 --> 00:20:26,700
It was a fucking crowning glory
to break there.
323
00:20:26,700 --> 00:20:30,600
♪ Well, baby used to stay out
all night long ♪
324
00:20:30,700 --> 00:20:35,200
♪ She made me cry, she done me wrong ♪
325
00:20:36,100 --> 00:20:39,200
♪ She hurt my eyes open, that's no lie ♪
326
00:20:39,300 --> 00:20:43,600
[Richards] I was amazed
by the warmth of the welcome.
327
00:20:43,700 --> 00:20:46,000
Especially with the first hit
being New York City.
328
00:20:46,100 --> 00:20:51,400
♪ Because I used to love her,
but it's all over now ♪
329
00:20:53,100 --> 00:20:57,700
[Richards] I mean, the buildings,
the feel and the smell of the place.
330
00:20:57,800 --> 00:21:00,700
♪ But it's all over now ♪
331
00:21:00,700 --> 00:21:03,000
[Richards] That night, I remember
writing to my mum there,
332
00:21:03,100 --> 00:21:05,000
"Mum, I'm in New York City.
333
00:21:05,100 --> 00:21:07,200
I'll tell you more later."
334
00:21:07,200 --> 00:21:08,500
[laughs]
335
00:21:10,000 --> 00:21:13,800
♪ She spent all my money,
playing her high class game ♪
336
00:21:13,800 --> 00:21:17,000
[Richards] God knows what
they were expecting.
337
00:21:17,000 --> 00:21:18,500
In some places, I mean...
338
00:21:18,600 --> 00:21:23,300
I do remember The Stones being arrested
339
00:21:23,400 --> 00:21:26,800
for topless bathing in Georgia
340
00:21:26,800 --> 00:21:32,100
at a Holiday Inn swimming pool,
which was in sight of this highway.
341
00:21:32,200 --> 00:21:35,600
And some freaked out locals thought,
because of the hair,
342
00:21:35,700 --> 00:21:40,500
that there was a load of chicks
jumping in the pool, naked, you know...
343
00:21:40,500 --> 00:21:43,600
So the cop car drives up to the pool.
[laughing]
344
00:21:43,700 --> 00:21:47,100
We're looking at them,
the cops are looking at us, you know,
345
00:21:47,200 --> 00:21:49,600
and it was like culture shock.
346
00:21:53,400 --> 00:21:57,100
In those days, if you went
further south than Washington,
347
00:21:57,200 --> 00:21:59,300
it was a different kind of America then.
348
00:21:59,400 --> 00:22:02,300
It was still strictly segregated.
349
00:22:02,400 --> 00:22:06,500
You'd pull in to a joint, a whole bus
of us, black and white, all mixed...
350
00:22:06,600 --> 00:22:08,900
Anyway, you'd pull over
and dying for a pee.
351
00:22:09,000 --> 00:22:11,400
So I'd join in with the brothers,
352
00:22:11,500 --> 00:22:13,500
and then they'd laugh at me
and point above the door,
353
00:22:13,600 --> 00:22:15,500
and it said "Colored only."
354
00:22:15,600 --> 00:22:18,500
I asked them,
"And where am I supposed to go?" you know.
355
00:22:18,600 --> 00:22:22,300
And they said, "Try the bushes"
or, "The white men's around the corner."
356
00:22:22,400 --> 00:22:26,600
But there were plenty of signs of it,
yeah. Chain gangs, too. Yeah.
357
00:22:27,300 --> 00:22:32,600
To get the last taste of that bullshit
was amazing to behold.
358
00:22:34,700 --> 00:22:38,300
But I think that black America sort of
took us a little more to their hearts
359
00:22:38,400 --> 00:22:40,400
because we were different.
360
00:22:40,500 --> 00:22:46,500
And we had no contact with the problems
that they usually had with white people.
361
00:22:49,900 --> 00:22:51,600
[blues guitar playing]
362
00:22:52,600 --> 00:22:54,400
[indistinct chatter]
363
00:23:02,100 --> 00:23:03,800
Now that's the shit.
364
00:23:03,900 --> 00:23:06,200
-[Jordan] You're gonna do it?
-Only if you want me to.
365
00:23:06,300 --> 00:23:08,100
But there's a Les Paul Jr. behind you.
366
00:23:08,200 --> 00:23:09,900
[Waits] When you walk into his studio...
367
00:23:10,000 --> 00:23:13,300
He says his first home is the stage.
368
00:23:13,400 --> 00:23:16,100
I think his second home
would be the studio.
369
00:23:16,200 --> 00:23:19,200
So that's where you
have to really start listening.
370
00:23:19,300 --> 00:23:22,500
[Jordan] We're not...
We're not using any of this.
371
00:23:22,600 --> 00:23:25,300
[Waits] Everybody's tuning up
and you know,
372
00:23:25,300 --> 00:23:27,400
that's when things
start to really happen,
373
00:23:27,500 --> 00:23:31,300
uh, because no one thinks it's music yet.
374
00:23:31,400 --> 00:23:35,600
Yeah, it's like an orchestra
tuning up, you know. It's thrilling.
375
00:23:35,600 --> 00:23:39,200
Because it's a piece of music
they will never play again,
376
00:23:39,300 --> 00:23:40,900
and no one called it that.
377
00:23:41,000 --> 00:23:43,500
[playing blues music]
378
00:23:49,400 --> 00:23:53,900
Yeah, you don't wanna be looking
at the frame and then realize
379
00:23:54,000 --> 00:23:57,100
that the most interesting thing
going on in the frame
380
00:23:57,200 --> 00:23:59,900
is happening outside of the frame.
381
00:24:03,100 --> 00:24:05,300
[blues music continues]
382
00:24:12,500 --> 00:24:17,400
[Richards] Living in England, all you knew
about Chicago was Al Capone.
383
00:24:17,400 --> 00:24:20,700
And then I found out that there's
something about the stock markets...
384
00:24:20,800 --> 00:24:22,100
and I mean, meat.
385
00:24:22,200 --> 00:24:25,600
[chuckling] I mean, the cattle yards.
386
00:24:25,700 --> 00:24:28,200
The next time
I really thought about Chicago
387
00:24:28,300 --> 00:24:33,200
is when I heard the blues coming out of
this building we're just about to bypass.
388
00:24:34,800 --> 00:24:39,000
Chess Records,
2120 South Michigan.
389
00:24:39,100 --> 00:24:42,500
We recorded there in '64.
390
00:24:42,600 --> 00:24:45,800
It was a magical room, sound-wise.
391
00:24:47,100 --> 00:24:51,500
How many addresses I've forgotten,
that one I'll never forget, you know.
392
00:24:59,200 --> 00:25:02,100
We arrived at Chess Studios.
393
00:25:02,200 --> 00:25:05,100
Somebody's walking us
through the corridor,
394
00:25:05,200 --> 00:25:10,500
and there's a black guy
on a ladder painting the ceiling.
395
00:25:10,600 --> 00:25:13,600
As we pass by,
the engineer from Chess said,
396
00:25:13,700 --> 00:25:17,100
"Oh, by the way,
this is Mr. Muddy Waters."
397
00:25:17,200 --> 00:25:20,900
So this is my first meeting.
398
00:25:21,000 --> 00:25:23,100
I'm shaking hands with Muddy Waters
399
00:25:23,200 --> 00:25:26,900
who's got whitewash dripping.
400
00:25:27,000 --> 00:25:28,600
[muttering]
401
00:25:28,700 --> 00:25:31,400
And he just said...
402
00:25:31,500 --> 00:25:34,000
"Thank you for what you guys are doing."
403
00:25:35,900 --> 00:25:39,000
I had to digest the image later.
404
00:25:39,100 --> 00:25:42,300
I mean, I'm shocked on a personal level
405
00:25:42,400 --> 00:25:45,700
to have met the very man
who I've been listening to
406
00:25:45,700 --> 00:25:48,400
and trying to fathom out.
407
00:25:49,400 --> 00:25:51,800
It said a lot about black and white.
[laughs]
408
00:25:52,800 --> 00:25:55,000
But that's what
I always said about Muddy.
409
00:25:55,100 --> 00:25:58,900
He was a gentleman
in no matter what position you found him.
410
00:26:04,700 --> 00:26:08,900
Muddy Waters, Howlin' Wolf,
Bo Diddley, Buddy Guy...
411
00:26:09,000 --> 00:26:14,600
All these guys were out in Chicago
recording in the same studios.
412
00:26:14,700 --> 00:26:19,000
And everybody is like, "What do you
wanna go to Chicago for?"
413
00:26:19,100 --> 00:26:20,800
Hey, there's a reason.
414
00:26:20,900 --> 00:26:22,700
[Buddy Guy] One, two, three.
415
00:26:22,800 --> 00:26:24,300
[band playing "Let Me Love You Baby"]
416
00:26:39,500 --> 00:26:41,300
[inaudible]
417
00:26:47,100 --> 00:26:48,700
♪ Well, now, baby when you walk ♪
418
00:26:48,800 --> 00:26:52,800
♪ You know you shake like a willow tree ♪
419
00:26:54,900 --> 00:26:56,800
♪ Well, now, baby when you walk ♪
420
00:26:56,900 --> 00:27:00,600
♪ You know, you shake
just like a willow tree ♪
421
00:27:02,800 --> 00:27:05,100
♪ Well, it's a girl like you ♪
422
00:27:05,100 --> 00:27:08,600
♪ I would love to make a fool of me ♪
423
00:27:12,400 --> 00:27:13,700
How are you doing, Buddy?
424
00:27:13,800 --> 00:27:15,500
-You wanna get a drink?
-Yeah.
425
00:27:15,600 --> 00:27:17,700
-You drink corn liquor?
-Yeah.
426
00:27:17,700 --> 00:27:18,900
Wait a minute.
427
00:27:19,000 --> 00:27:20,600
-I could have them set you up.
-Yeah.
428
00:27:20,700 --> 00:27:23,000
[bartender] All right,
white lightning coming at ya.
429
00:27:23,100 --> 00:27:24,800
All right.
430
00:27:24,900 --> 00:27:26,600
[both chuckle]
431
00:27:30,500 --> 00:27:31,900
It's got a kick, man.
432
00:27:33,300 --> 00:27:36,500
[Guy] Well, you go first.
You go first, then I'll...
433
00:27:37,300 --> 00:27:40,600
There we go.
I gotta shoot on that one, right?
434
00:27:42,300 --> 00:27:43,600
[Richards] Whoa.
435
00:27:43,600 --> 00:27:45,300
[Guy] I think I can make this one, Keith.
436
00:27:46,900 --> 00:27:48,800
-[laughs]
-Then I scratch.
437
00:27:48,900 --> 00:27:50,200
[both laughing]
438
00:27:55,400 --> 00:27:59,400
[Guy] Came here September the 25th, 1957.
439
00:27:59,500 --> 00:28:03,800
They had a thousand blues clubs.
Some of them didn't hold but 22 people.
440
00:28:03,900 --> 00:28:06,400
Hardly wasn't no air-conditioning
this time of year,
441
00:28:06,500 --> 00:28:08,600
and they kept the doors open
442
00:28:08,700 --> 00:28:13,200
so if you walked by,
you would hear these harmonicas and drums.
443
00:28:15,300 --> 00:28:18,300
And I found out that,
if you played good,
444
00:28:18,300 --> 00:28:21,200
you got a good drunk,
and you got a good-looking woman
445
00:28:21,300 --> 00:28:22,900
if you sounded all right.
446
00:28:22,900 --> 00:28:24,100
[both laugh]
447
00:28:25,000 --> 00:28:26,100
[Guy] Yes, sir.
448
00:28:30,300 --> 00:28:31,600
[Richards] Yep.
449
00:28:33,200 --> 00:28:36,600
I don't know if you remember there was
a television show here called Shindig.
450
00:28:36,700 --> 00:28:38,300
And they was trying to get you on...
451
00:28:38,400 --> 00:28:40,200
[Richards] Yeah, Howlin' Wolf
was in there.
452
00:28:40,300 --> 00:28:42,900
Yeah, they was trying to get you all
to play it. And Mick said...
453
00:28:43,000 --> 00:28:46,300
They said... I think Mick said,
"Let us bring Muddy Waters."
454
00:28:46,400 --> 00:28:48,200
And they said,
"Who in the hell is Muddy Waters?"
455
00:28:48,300 --> 00:28:51,000
And he said, "You mean to tell me
you don't know who Muddy Waters is?
456
00:28:51,100 --> 00:28:56,200
We named ourselves after one
of his famed records, Rollin' Stone."
457
00:28:56,300 --> 00:28:58,800
And I even cried about that, man.
And sure enough,
458
00:28:58,900 --> 00:29:01,800
that's when they brought
Howlin' Wolf and Muddy.
459
00:29:01,900 --> 00:29:04,600
And that's the first time
I'd ever seen 'em on television.
460
00:29:04,700 --> 00:29:07,500
It was thanks to these people here, man.
461
00:29:07,600 --> 00:29:08,700
Tell us something about him, Brian.
462
00:29:08,800 --> 00:29:10,500
Well, when we first
started playing together,
463
00:29:10,600 --> 00:29:12,600
we started playing because
we wanted to play rhythm and blues.
464
00:29:12,600 --> 00:29:15,100
And Howlin' Wolf
was one of our greatest idols.
465
00:29:15,200 --> 00:29:17,700
And it's a great pleasure to find
he's been booked on this show tonight.
466
00:29:17,700 --> 00:29:19,300
-Really is a pleasure.
-Thanks to Howlin'.
467
00:29:19,400 --> 00:29:20,600
So I think it's about time
that you shut up
468
00:29:20,700 --> 00:29:22,700
-and we had Howlin' Wolf on stage.
-[host] Yeah! I agree.
469
00:29:22,800 --> 00:29:25,900
Okay! Let's get him on.
Howlin' Wolf! Bring him up.
470
00:29:26,000 --> 00:29:27,600
[audience cheering]
471
00:29:34,600 --> 00:29:37,400
♪ How many more years ♪
472
00:29:38,500 --> 00:29:42,000
♪ Have I got to let you dog me around? ♪
473
00:29:44,600 --> 00:29:47,400
♪ How many more years ♪
474
00:29:48,600 --> 00:29:52,400
♪ Have I got to let you dog me around? ♪
475
00:29:55,100 --> 00:29:57,600
♪ I would rather be dead ♪
476
00:29:58,700 --> 00:30:02,000
♪ Sleeping six feet in the ground ♪
477
00:30:06,200 --> 00:30:09,200
[Richards] I knew him very well.
Chester, I think, was his real name.
478
00:30:11,600 --> 00:30:15,000
Big man. The gentle giant.
479
00:30:15,000 --> 00:30:17,000
When you're that big and intimidating,
480
00:30:17,000 --> 00:30:19,700
you don't really have to do
anything about it.
481
00:30:19,800 --> 00:30:21,300
You know what I mean?
[chuckles]
482
00:30:24,000 --> 00:30:27,700
These guys were gentlemen
in the true meaning of the word.
483
00:30:27,800 --> 00:30:30,900
I mean, I've no doubt
they could be as mean as, you know...
484
00:30:31,000 --> 00:30:32,500
And I didn't wanna know.
485
00:30:32,600 --> 00:30:36,100
But there was
an innate politeness about them.
486
00:30:37,900 --> 00:30:40,400
They were in awe
that we'd even heard of them.
487
00:30:40,500 --> 00:30:42,800
And we were in awe
of meeting them.
488
00:30:42,900 --> 00:30:48,100
And so you have this
mutual appreciation society going on,
489
00:30:48,200 --> 00:30:49,900
which still goes on to this day.
490
00:30:54,600 --> 00:30:56,600
[Guy] Ah! There you go!
491
00:30:57,800 --> 00:31:02,100
I used to go into Chess
and try to turn my amplifier up, out loud,
492
00:31:02,200 --> 00:31:05,400
and they would run me out saying,
"Don't nobody wanna hear that."
493
00:31:05,500 --> 00:31:08,500
But when they started playing
and it got back to Leonard, he said,
494
00:31:08,600 --> 00:31:11,500
"The British are playing it,
and it's getting over."
495
00:31:11,600 --> 00:31:14,700
So I turned my amp up
like these British guys.
496
00:31:17,600 --> 00:31:21,100
Do you have to live that life
to be a blues player?
497
00:31:21,200 --> 00:31:24,500
Do you have to be black or white
to play the blues?
498
00:31:24,600 --> 00:31:25,900
Hell no, man!
499
00:31:27,200 --> 00:31:31,000
The bottom line,
it's about the good and the bad times.
500
00:31:31,000 --> 00:31:34,400
And if you haven't had a bad time in life,
just keep living.
501
00:31:34,500 --> 00:31:36,200
[Richards] All right.
502
00:31:41,300 --> 00:31:42,300
[Richards] Oh.
503
00:31:42,400 --> 00:31:43,800
Oh...
504
00:31:45,200 --> 00:31:47,300
-[Guy laughing] I give up, man.
-[Richards laughing]
505
00:31:50,500 --> 00:31:52,900
All right. All right.
506
00:31:58,700 --> 00:32:00,600
Ah, that's where I left it.
507
00:32:03,000 --> 00:32:04,300
[playing piano]
508
00:32:09,400 --> 00:32:15,500
Why did I bother to play piano?
A guy called Ian Stewart, you know.
509
00:32:15,500 --> 00:32:16,900
He started The Stones,
510
00:32:17,000 --> 00:32:21,200
and he was one of the best
boogie pianists I had heard.
511
00:32:21,300 --> 00:32:24,000
I mean, especially in England.
512
00:32:24,100 --> 00:32:26,100
There was one thing he played.
513
00:32:26,200 --> 00:32:28,500
I said, "Look,
I gotta learn how to do that."
514
00:32:28,600 --> 00:32:31,800
Just show me, you know,
just the basics.
515
00:32:31,900 --> 00:32:33,400
[playing piano]
516
00:33:08,600 --> 00:33:12,100
For me, in the right mood,
and at the right instrument,
517
00:33:12,200 --> 00:33:16,200
there's a certain feeling
of being an antenna,
518
00:33:16,300 --> 00:33:19,600
receiving and then transmitting.
519
00:33:19,600 --> 00:33:22,400
I'll sit down at the piano
and pick up the guitar
520
00:33:22,500 --> 00:33:26,900
and happily play
Buddy Holly or Otis Redding.
521
00:33:27,000 --> 00:33:30,200
And then, somewhere,
with a bit of luck,
522
00:33:30,300 --> 00:33:33,600
you realize that something
you'd thought that you'd played wrong
523
00:33:33,700 --> 00:33:36,200
was actually...
524
00:33:36,200 --> 00:33:39,800
a start of a whole different song.
525
00:33:41,500 --> 00:33:43,600
I said, "I gotta learn this, man."
526
00:33:47,400 --> 00:33:49,000
I wrote a lot of stuff on piano.
527
00:33:49,100 --> 00:33:53,700
I wrote "Let's Spend The Night Together,"
"Have You Seen Your Mother, Baby,"
528
00:33:53,800 --> 00:33:56,700
but I don't consider
myself a piano player.
529
00:33:56,800 --> 00:34:00,500
I use it as a paint box,
you know, just to...
530
00:34:00,600 --> 00:34:02,300
A touch here, a touch there.
531
00:34:02,400 --> 00:34:03,800
Usually just the right hand.
532
00:34:03,900 --> 00:34:05,600
[laughs]
533
00:34:07,300 --> 00:34:12,100
♪ She, she's got a mind of her own ♪
534
00:34:12,200 --> 00:34:15,600
♪ And she use it well ♪
535
00:34:15,700 --> 00:34:19,200
Actually, I piss about a lot.
And then it's...
536
00:34:19,200 --> 00:34:21,000
And it's like, whatever strikes me.
537
00:34:21,100 --> 00:34:23,400
But I've always loved playing the piano.
538
00:34:23,500 --> 00:34:25,400
I think one of the reasons...
539
00:34:25,500 --> 00:34:30,300
Being a guitar player, you know, your
instrument is in a strange, you know...
540
00:34:31,900 --> 00:34:33,800
a different position.
541
00:34:33,900 --> 00:34:38,500
But the piano, to me,
it's, like, laid out like a chess game.
542
00:34:39,400 --> 00:34:41,600
[playing "Sing Me Back Home"]
543
00:34:58,500 --> 00:35:00,900
-See, I love my country shit.
-[man chuckles]
544
00:35:07,500 --> 00:35:14,100
♪ Oh, won't you sing me back home? ♪
545
00:35:16,200 --> 00:35:20,800
♪ To the songs my mama sang ♪
546
00:35:23,300 --> 00:35:30,200
♪ Make my old memories come alive ♪
547
00:35:35,300 --> 00:35:40,900
♪ Please take me away ♪
548
00:35:42,700 --> 00:35:47,500
♪ Yeah, turn back all those years ♪
549
00:35:50,100 --> 00:35:56,600
♪ Sing me back home before ♪
550
00:35:56,700 --> 00:35:59,400
♪ I die ♪
551
00:36:11,400 --> 00:36:12,600
See, country music...
552
00:36:12,700 --> 00:36:18,000
I was listening to Porter Wagoner
in 1953, man. I mean, yeah,
553
00:36:18,100 --> 00:36:20,000
Johnny Cash, Hank Williams...
554
00:36:20,000 --> 00:36:22,200
We didn't get a lot of it in England,
555
00:36:22,300 --> 00:36:24,700
but, yeah, well aware of it.
556
00:36:24,700 --> 00:36:26,900
My mother made sure of that.
557
00:36:28,500 --> 00:36:30,400
Country music, I mean, to me,
558
00:36:30,500 --> 00:36:33,800
I heard stories
that you're never quite sure,
559
00:36:33,900 --> 00:36:37,400
you know, how nasty it can get.
560
00:36:37,500 --> 00:36:40,700
♪ Someone stole some money ♪
561
00:36:42,100 --> 00:36:45,900
♪ Who it is,
it ain't quite clear ♪
562
00:36:48,300 --> 00:36:51,700
♪ Stolen from my honey ♪
563
00:36:53,000 --> 00:36:57,000
♪ She holds my stash 'round here ♪
564
00:36:59,100 --> 00:37:02,700
♪ The cops, you know
I can't involve them ♪
565
00:37:04,600 --> 00:37:07,800
♪ They'd only interfere ♪
566
00:37:09,300 --> 00:37:13,600
♪ So I hit the usual suspects ♪
567
00:37:14,900 --> 00:37:19,200
♪ But I drew a blank round here ♪
568
00:37:19,900 --> 00:37:21,100
♪ I'm robbed blind ♪
569
00:37:25,800 --> 00:37:27,400
♪ Robbed blind ♪
570
00:37:31,800 --> 00:37:33,400
[song continues]
571
00:37:59,600 --> 00:38:01,500
Beautiful woodwork.
572
00:38:05,000 --> 00:38:09,600
The boards, the hallowed boards, yeah.
573
00:38:10,600 --> 00:38:13,800
[Richards] I've only played here once,
with Willie Nelson.
574
00:38:13,900 --> 00:38:16,500
It was built as a church.
575
00:38:16,600 --> 00:38:19,100
And now it's a temple to country music.
576
00:38:19,200 --> 00:38:21,500
What's the difference, you know?
577
00:38:21,600 --> 00:38:25,400
We all come here to worship
and pray to the best, you know.
578
00:38:25,500 --> 00:38:28,900
And God knows everybody's been on here.
579
00:38:30,700 --> 00:38:35,800
I first heard country music
on a pirate radio station.
580
00:38:35,900 --> 00:38:38,800
[Marty Robbins singing]
♪ Out in the West Texas town of El Paso ♪
581
00:38:38,800 --> 00:38:42,300
♪ I fell in love with a Mexican girl ♪
582
00:38:42,300 --> 00:38:44,900
[radio stations switching]
583
00:38:44,900 --> 00:38:47,500
[Richards] Reception was dodgy.
584
00:38:47,600 --> 00:38:51,900
That required a lot of maneuvering
around the room
585
00:38:52,000 --> 00:38:54,900
with the antenna, you know?
[laughs]
586
00:38:55,900 --> 00:39:00,600
But country music immediately, like,
pulled chimes within me, you know.
587
00:39:00,700 --> 00:39:06,200
I mean, it was the melodies, I think,
and also the guitars, you know.
588
00:39:06,200 --> 00:39:10,800
You know, that pedal steel's
a heartbreaker, man.
589
00:39:15,000 --> 00:39:17,500
Sometimes the songs are really dopey.
590
00:39:17,600 --> 00:39:21,800
But then sometimes the dopiest song
would have the best melody.
591
00:39:21,800 --> 00:39:25,800
And at the same time
there was a certain edge on certain guys.
592
00:39:25,900 --> 00:39:27,800
Hank Williams, particularly.
593
00:39:31,100 --> 00:39:34,500
You measure country music
by this cat.
594
00:39:34,600 --> 00:39:40,200
[Hank Williams singing]
♪ Hear that lonesome whip-poor-will ♪
595
00:39:40,300 --> 00:39:45,900
♪ He sounds too blue to fly ♪
596
00:39:46,000 --> 00:39:49,000
[Richards] Hank Williams, Johnny Cash,
Merle Haggard...
597
00:39:49,100 --> 00:39:52,000
They were pretty tough guys.
598
00:39:52,100 --> 00:39:57,100
The reality of country music
on the road is something else.
599
00:39:57,200 --> 00:40:00,600
Rock and roll's got nothing on those guys.
600
00:40:01,600 --> 00:40:05,100
The Stones once turned up at a Holiday Inn
601
00:40:05,200 --> 00:40:07,200
in Fresno, something like that.
602
00:40:07,300 --> 00:40:10,900
And there's this
smell of paint everywhere.
603
00:40:11,000 --> 00:40:12,800
They go, "There's your room."
604
00:40:14,300 --> 00:40:16,700
And, "What's going on?"
And they said, "Well...
605
00:40:17,400 --> 00:40:21,100
[chuckling] Johnny Cash and Luther Perkins
were here two nights ago
606
00:40:21,200 --> 00:40:25,600
and painted the whole damn room orange.
Drapes and all," he says.
607
00:40:25,700 --> 00:40:29,500
If I'd have known,
I would've brought some paint cleaner.
608
00:40:29,600 --> 00:40:34,600
♪ I'm so lonesome I could cry ♪
609
00:40:39,300 --> 00:40:40,900
[man] You never had
any Nudie suits, did you?
610
00:40:41,000 --> 00:40:42,100
[Richards] I'll tell you what,
611
00:40:42,200 --> 00:40:45,600
Gram Parsons used to
pass his cast-offs to me, yeah.
612
00:40:45,700 --> 00:40:48,800
I did have one of Gram's Nudie suits.
613
00:40:48,900 --> 00:40:54,000
It was made by a tailor in
San Fernando Valley called Nudie.
614
00:40:54,100 --> 00:40:55,800
We used to go around there, yeah.
615
00:40:55,900 --> 00:40:57,300
What a madman.
616
00:40:57,400 --> 00:40:58,700
[laughs]
617
00:40:59,800 --> 00:41:04,300
Gram Parsons taught me so much about
this mystique of the "country."
618
00:41:04,400 --> 00:41:08,300
I was very much drawn to him,
and he was the big influence.
619
00:41:08,400 --> 00:41:11,200
[man singing]
♪ She's a devil in disguise ♪
620
00:41:11,300 --> 00:41:14,900
♪ You can see it in her eyes ♪
621
00:41:15,000 --> 00:41:18,700
♪ She's telling dirty lies ♪
622
00:41:18,700 --> 00:41:21,600
♪ She's a devil in disguise ♪
623
00:41:21,700 --> 00:41:23,800
[Richards] Gram hung with us
when we were cutting
624
00:41:23,900 --> 00:41:26,900
Exile On Main Street and "Wild Horses."
625
00:41:27,000 --> 00:41:31,000
Meeting Gram,
I got fully immersed in country music.
626
00:41:32,100 --> 00:41:35,800
But as much as he was a country boy
and loved his country music,
627
00:41:35,900 --> 00:41:40,500
his idea of America
was very bizarre, you know?
628
00:41:40,600 --> 00:41:42,000
And, uh...
629
00:41:42,100 --> 00:41:43,900
So, I said, "That's bizarre."
630
00:41:44,000 --> 00:41:46,900
And he said,
"You wanna see how bizarre? Look at this."
631
00:41:47,000 --> 00:41:51,100
This guy has got longhorns
on the end of his Cadillac.
632
00:41:52,700 --> 00:41:59,400
So, to me, all of this temple for
a Stetson and some rhinestones is like...
633
00:41:59,500 --> 00:42:02,600
But that says the other side
of what country music is about.
634
00:42:02,700 --> 00:42:04,200
It's the razzle-dazzle.
635
00:42:04,300 --> 00:42:07,100
It's Colonel Parker
and the dancing chickens.
636
00:42:10,700 --> 00:42:13,000
Me, I didn't see the Stetson
and the rhinestones.
637
00:42:13,100 --> 00:42:14,900
I just heard the music.
638
00:42:15,000 --> 00:42:18,200
And I always knew
that this is the heartland.
639
00:42:18,300 --> 00:42:22,800
This is where American music
was put in the crucible
640
00:42:22,900 --> 00:42:29,600
and came out as, you know,
pretty much pure silver.
641
00:42:31,100 --> 00:42:33,000
["Sweet Virginia" playing]
642
00:42:37,200 --> 00:42:38,500
This was rock and roll.
643
00:42:38,500 --> 00:42:43,200
That's where country music
and the blues sort of collided.
644
00:42:45,000 --> 00:42:49,300
I always felt myself fortunate
to be in a spot where, in America,
645
00:42:49,400 --> 00:42:52,400
these few forms of music
were somehow merging
646
00:42:52,500 --> 00:42:54,700
and creating something else, you know?
647
00:42:54,800 --> 00:42:57,800
So, it was great to watch
and be a part of,
648
00:42:57,800 --> 00:42:59,100
and now be the king of.
649
00:42:59,200 --> 00:43:00,900
[laughs]
650
00:43:00,900 --> 00:43:06,600
[Jagger singing]
♪ Wadin' through the waste stormy winter ♪
651
00:43:09,900 --> 00:43:15,600
♪ And there's not a friend
to help you through ♪
652
00:43:18,500 --> 00:43:25,000
♪ Tryin' to stop the waves
behind your eyeballs ♪
653
00:43:27,700 --> 00:43:33,900
♪ Drop your reds
Drop your greens and blues ♪
654
00:43:37,100 --> 00:43:43,600
♪ But come on,
come on down, Sweet Virginia ♪
655
00:43:46,000 --> 00:43:52,800
♪ Got to scrape the shit
right off your shoes ♪
656
00:44:02,300 --> 00:44:07,400
♪ And you find yourself
on the streets again ♪
657
00:44:08,600 --> 00:44:09,600
That was it. Yeah, all right.
658
00:44:09,700 --> 00:44:14,800
Mind you, I don't go around searching
for songs, you know, with a butterfly net.
659
00:44:14,800 --> 00:44:18,800
Because I think, basically,
songs have to come to you.
660
00:44:20,200 --> 00:44:24,400
You know, going around, like, trying
to winkle them out with a sharp stick,
661
00:44:24,500 --> 00:44:26,900
going, "Come here,
you little son-of-a-bitch."
662
00:44:27,000 --> 00:44:32,400
♪ Just because you find yourself
on the streets again ♪
663
00:44:33,700 --> 00:44:39,900
♪ That don't mean I'm
That I'm just your friend ♪
664
00:44:41,000 --> 00:44:45,000
♪ Baby, trouble is your middle name ♪
665
00:44:45,100 --> 00:44:50,200
I wrote a sort of country song,
roaming around the hallways of this house.
666
00:44:50,300 --> 00:44:53,800
And it's not often, my old lady
suddenly came out of the bedroom,
667
00:44:53,900 --> 00:44:57,400
and looked over and said,
"That's a good song."
668
00:44:59,900 --> 00:45:02,300
Hey, if the wife says so...
669
00:45:03,200 --> 00:45:05,800
It was very Hank Williams.
670
00:45:05,900 --> 00:45:09,200
And then I thought,
"No, it's too Hank Williams.
671
00:45:09,300 --> 00:45:11,200
Let's give it a kick. Let's push it up."
672
00:45:11,300 --> 00:45:13,200
[band playing "Trouble"]
673
00:45:25,800 --> 00:45:28,700
♪ Just because you find yourself ♪
674
00:45:28,700 --> 00:45:30,900
♪ Off the streets again ♪
675
00:45:32,000 --> 00:45:34,300
And I loved working with the drummer.
676
00:45:34,400 --> 00:45:36,200
It's a one-on-one thing.
677
00:45:36,300 --> 00:45:38,700
And it's an amazingly
uncomplicated way to deal with...
678
00:45:38,800 --> 00:45:40,000
Especially playing rock and roll.
679
00:45:42,000 --> 00:45:45,500
And the other thing, too,
I mean, just as a fan...
680
00:45:46,600 --> 00:45:48,000
I love the way he plays bass.
681
00:45:48,100 --> 00:45:49,700
[playing "Trouble" bassline]
682
00:45:54,800 --> 00:45:56,600
[Jordan] That was very exciting for me,
683
00:45:56,700 --> 00:46:00,400
to have Keith play
as many instruments as possible.
684
00:46:00,400 --> 00:46:02,800
Because those are some of
my favorite Stones records,
685
00:46:02,900 --> 00:46:06,100
when he played the bass
and all the guitars.
686
00:46:07,800 --> 00:46:12,000
[Richards] I've done some bass tracks
in my time. I do love playing bass.
687
00:46:12,100 --> 00:46:17,000
I'm probably a better bass player
than I am guitar, actually. [laughs]
688
00:46:24,500 --> 00:46:27,100
-[man] Look at you!
-I love this shit. I love this shit.
689
00:46:27,100 --> 00:46:30,100
Well, that goes back to
Steve Jordan saying to me,
690
00:46:30,200 --> 00:46:34,200
"Hey, man," you know, in his
sweet, shy, unassuming manner...
691
00:46:34,300 --> 00:46:36,000
Um...
692
00:46:36,100 --> 00:46:38,800
He went,
"How did you cut 'Jumpin' Jack Flash'?"
693
00:46:38,900 --> 00:46:40,700
You know?
694
00:46:40,800 --> 00:46:45,000
"How did you cut 'Street Fighting Man'?"
695
00:46:47,800 --> 00:46:51,400
In those days, you know, you'd say,
roughly, what time you're, you know,
696
00:46:51,500 --> 00:46:52,900
"What time at the studio?"
697
00:46:53,000 --> 00:46:56,100
You can say 8:00 or 9:00
in the evening, you know,
698
00:46:56,200 --> 00:46:58,100
and the band would turn up
around midnight.
699
00:46:58,200 --> 00:46:59,900
[laughs] You know.
700
00:47:01,700 --> 00:47:05,000
Sometimes I would deliberately
go in early, you know, and...
701
00:47:05,100 --> 00:47:06,800
Or if, you know, I was with Charlie,
702
00:47:06,800 --> 00:47:09,300
for instance, I would say,
"Let's go in early and..."
703
00:47:09,400 --> 00:47:13,700
And, basically, I'd go in just to
sort of chop a few ideas about.
704
00:47:18,000 --> 00:47:21,300
But now and again,
you'd actually find out this is the track.
705
00:47:21,400 --> 00:47:26,500
[Richards on recording] One, two.
One, two, three, four.
706
00:47:26,600 --> 00:47:28,500
["Street Fighting Man" playing]
707
00:47:34,400 --> 00:47:38,800
"Street Fighting Man," I think,
was the first one that occurred that way.
708
00:47:41,300 --> 00:47:44,500
Charlie and I were just fiddling about.
709
00:47:44,600 --> 00:47:48,200
And, in there, it sounds like
a couple of people busking, you know.
710
00:47:48,300 --> 00:47:51,800
Charlie's playing this tiny,
little traveling drum kit,
711
00:47:51,800 --> 00:47:54,400
and I'm playing an acoustic, you know.
712
00:47:54,500 --> 00:47:56,600
"Yeah, well, let's just build up on it."
713
00:48:03,000 --> 00:48:05,500
There's not an electric guitar
on that one, no.
714
00:48:05,600 --> 00:48:08,000
It's all overloaded acoustics.
715
00:48:12,300 --> 00:48:16,800
I realized that I could use
a cassette machine basically as a pick-up.
716
00:48:17,800 --> 00:48:21,800
And I play an acoustic guitar through it
and, like, slam it through so loud
717
00:48:21,900 --> 00:48:24,200
that it was totally overloaded.
718
00:48:27,200 --> 00:48:31,900
The 1967 Norelco, the same one that
you would carry around with you. Found it.
719
00:48:33,800 --> 00:48:34,800
Again. Play.
720
00:48:34,900 --> 00:48:37,200
[playing "Street Fighting Man" riff]
721
00:48:53,300 --> 00:48:57,200
That's as much as you're gonna get.
Let's see what comes out. [chuckles]
722
00:48:57,200 --> 00:48:58,700
[tape recorder playing]
723
00:49:00,300 --> 00:49:04,200
Then they'd put a microphone on that
and put it into the studio.
724
00:49:12,600 --> 00:49:17,500
Basically, you have an electric guitar,
but with the feel of an acoustic.
725
00:49:20,600 --> 00:49:22,800
[Richards on tape] That's as much
as you're gonna get.
726
00:49:22,900 --> 00:49:24,500
[laughs]
727
00:49:25,900 --> 00:49:29,700
[Richards] Basically starts there,
and Mick would finish it off.
728
00:49:29,800 --> 00:49:36,500
[Jagger singing] ♪ Hey!
Said my name is called disturbance ♪
729
00:49:36,500 --> 00:49:40,500
♪ I'll shout, I'll scream,
I'll kill the king ♪
730
00:49:40,500 --> 00:49:44,900
♪ I'll rail at all his servants ♪
731
00:49:46,000 --> 00:49:49,500
♪ Well, what can a poor boy do ♪
732
00:49:49,600 --> 00:49:53,200
♪ Except to sing
for a rock and roll band ♪
733
00:49:53,300 --> 00:49:56,300
♪ 'Cause in sleepy London town ♪
734
00:49:56,300 --> 00:50:01,800
♪ There's just no place
for a street fighting man ♪
735
00:50:03,100 --> 00:50:04,700
♪ No ♪
736
00:50:04,700 --> 00:50:07,100
[Richards] We were working
so hard in those days
737
00:50:07,200 --> 00:50:09,400
that you couldn't write 'em fast enough.
738
00:50:09,400 --> 00:50:12,300
I'll throw the bass on and,
you know, put another guitar on,
739
00:50:12,400 --> 00:50:15,100
and we sort of finished
the track in two hours.
740
00:50:16,600 --> 00:50:18,000
But sometimes, you never know.
741
00:50:18,100 --> 00:50:22,700
You're in a recording, you can go in there
with everything sort of planned...
742
00:50:24,200 --> 00:50:25,600
and it just doesn't click.
743
00:50:27,000 --> 00:50:28,400
[indistinct chatter]
744
00:50:30,500 --> 00:50:33,600
[Richards] "Sympathy"
was a whole different set-up.
745
00:50:34,700 --> 00:50:38,500
I think that was a good 35 takes.
746
00:50:39,900 --> 00:50:43,700
♪ I was around when Jesus Christ ♪
747
00:50:43,800 --> 00:50:47,200
♪ Had his moment of doubt and pain ♪
748
00:50:47,300 --> 00:50:48,900
[man] Sounds really good together.
749
00:50:48,900 --> 00:50:51,300
[Richards] And that song, also,
through those takes,
750
00:50:51,400 --> 00:50:53,100
went from being a sort of
751
00:50:53,200 --> 00:50:56,700
Dylan-esque sort of ballad,
you know, really...
752
00:50:57,800 --> 00:51:03,800
to just an acoustic guitar and
a very, sort of... a lament, almost.
753
00:51:03,900 --> 00:51:06,800
♪ Made damn sure that Pilate... ♪
754
00:51:07,800 --> 00:51:10,000
And we did that for a bit and went...
755
00:51:10,100 --> 00:51:13,600
"This song could take
a little more juice." You know? [laughing]
756
00:51:16,700 --> 00:51:18,400
And, slowly, it built up...
757
00:51:18,500 --> 00:51:22,000
Yeah, I took the bass in on that,
with Charlie,
758
00:51:22,100 --> 00:51:24,700
and we brought it up
to a sort of samba thing.
759
00:51:26,900 --> 00:51:28,000
And then suddenly, everybody looked,
760
00:51:28,100 --> 00:51:31,100
and he said, "Yeah.
Yeah, all right, okay."
761
00:51:31,200 --> 00:51:35,000
♪ I laid traps for troubadours ♪
762
00:51:35,000 --> 00:51:38,000
♪ Who get killed
before they reached Bombay ♪
763
00:51:40,700 --> 00:51:42,000
♪ Oh ♪
764
00:51:42,100 --> 00:51:44,100
♪ Pleased to meet y'all, now, now ♪
765
00:51:44,200 --> 00:51:46,300
♪ Hope you guessed my name ♪
766
00:51:47,100 --> 00:51:51,700
You never know quite when
the magic bit's gonna come in.
767
00:51:53,500 --> 00:51:55,300
[band playing "Trouble"]
768
00:52:06,100 --> 00:52:09,200
♪ Just because you find yourself ♪
769
00:52:09,300 --> 00:52:11,300
♪ Off the streets again ♪
770
00:52:12,400 --> 00:52:15,700
♪ That don't mean that I can help you ♪
771
00:52:15,800 --> 00:52:18,400
♪ Or I ain't your friend ♪
772
00:52:19,700 --> 00:52:24,300
♪ Baby, trouble is your middle name ♪
773
00:52:24,300 --> 00:52:28,800
♪ The trouble is that that's your game ♪
774
00:52:33,400 --> 00:52:37,000
[Waits] Every song has at least
ten songs inside of it
775
00:52:37,100 --> 00:52:41,400
that can be released from the song
and you can make, you know...
776
00:52:41,500 --> 00:52:45,800
You put two songs together in a room,
they'll have offspring, you know?
777
00:52:46,900 --> 00:52:51,600
If you want to start writing songs,
you have to start thinking like one.
778
00:52:51,600 --> 00:52:55,300
You're trying to
break into the ritual of music.
779
00:52:56,600 --> 00:52:59,600
It's kinda like Houdini
in reverse, you know.
780
00:52:59,700 --> 00:53:01,500
It's not you're trying to escape.
781
00:53:01,600 --> 00:53:04,400
You're trying to be let in.
782
00:53:04,500 --> 00:53:06,100
[Richards singing]
♪ Trouble ♪
783
00:53:11,700 --> 00:53:14,000
[man] The story I'd heard
about you meeting him...
784
00:53:14,100 --> 00:53:15,700
I think you were doing Rain Dogs.
785
00:53:15,800 --> 00:53:18,500
Well, my wife, she said,
"Who would you like?"
786
00:53:18,600 --> 00:53:21,900
And I told her,
"Oh, Keith Richards."
787
00:53:22,000 --> 00:53:25,400
I was, like, saying, "Lenny Bruce..."
788
00:53:25,500 --> 00:53:26,900
Uh, you know...
789
00:53:27,000 --> 00:53:29,700
"Muddy Waters," you know.
790
00:53:32,000 --> 00:53:35,400
And she went ahead and started calling.
791
00:53:35,500 --> 00:53:37,500
It was like a prank call.
792
00:53:37,600 --> 00:53:40,100
-And then he picked up, you know.
-[man chuckles]
793
00:53:41,400 --> 00:53:44,200
[Richards] We bumped into each other
30 years ago.
794
00:53:45,100 --> 00:53:48,000
I loved him from the minute I met him.
795
00:53:51,400 --> 00:53:55,700
When he came, he came in a semi
with about 300 guitars.
796
00:53:55,800 --> 00:53:57,600
So I wasn't ready for that,
either, you know.
797
00:53:57,700 --> 00:53:59,900
And he had a guitar valet
798
00:54:00,000 --> 00:54:05,600
who was, like, bringing guitars over
like beverages and desserts, you know.
799
00:54:05,700 --> 00:54:08,400
And it was just...
It was a little overwhelming for me.
800
00:54:09,200 --> 00:54:11,800
[Richards] Tom's an eccentric.
The first time I met him,
801
00:54:11,900 --> 00:54:16,200
he had a room full of instruments
of the most bizarre kinds.
802
00:54:16,300 --> 00:54:23,100
He had a Mellotron, but it
only played train noises. [laughing]
803
00:54:26,100 --> 00:54:27,900
[Richards laughs]
804
00:54:28,000 --> 00:54:30,400
Yeah, there's a couple of spots.
805
00:54:30,500 --> 00:54:32,600
I just lost the frame,
but I don't think it really matters,
806
00:54:32,700 --> 00:54:34,500
'cause you can just, you know...
807
00:54:34,500 --> 00:54:37,600
If it gets in the way, you can just
drift it off and then put it back up.
808
00:54:37,700 --> 00:54:38,700
Yeah, yeah, yeah.
809
00:54:38,800 --> 00:54:43,500
That first time, we'd been jamming for
an hour or so, and then,
810
00:54:43,600 --> 00:54:47,400
I didn't even... You know...
And there were beverages involved.
811
00:54:47,500 --> 00:54:51,900
I must admit, I was trying to match him,
812
00:54:52,000 --> 00:54:55,200
which you must never try to ever do.
813
00:54:55,300 --> 00:54:58,900
But... And so after an hour or so,
I was... I didn't know where I was.
814
00:54:59,000 --> 00:55:03,100
And then, I say, "What did we just get?
What, do we have anything?"
815
00:55:03,200 --> 00:55:05,200
And then, he says...
816
00:55:05,300 --> 00:55:07,200
[hoarsely] "Scribe."
817
00:55:08,200 --> 00:55:11,200
And then I realized I was the scribe.
818
00:55:11,200 --> 00:55:14,200
I was supposed to be
keeping track of everything.
819
00:55:15,400 --> 00:55:21,600
♪ I'm the last leaf on the tree ♪
820
00:55:21,700 --> 00:55:23,200
Yeah, something like that.
821
00:55:23,300 --> 00:55:27,100
I'm really happy to have been able
to write songs with him, actually.
822
00:55:27,200 --> 00:55:30,700
Because it took me a long time
to realize that he never wrote songs
823
00:55:30,800 --> 00:55:33,700
except with Kathleen, his wife,
you know.
824
00:55:33,800 --> 00:55:37,900
And so, to me, it was a real...
I realized, a real privilege.
825
00:55:38,000 --> 00:55:41,800
♪ I'll be here through eternity ♪
826
00:55:41,900 --> 00:55:46,000
♪ If you want to know how long ♪
827
00:55:46,000 --> 00:55:48,100
♪ If they cut down this tree ♪
828
00:55:48,200 --> 00:55:51,600
♪ I'll show up in a song ♪
829
00:55:51,700 --> 00:55:57,500
♪ I'm the last leaf on the tree ♪
830
00:55:59,500 --> 00:56:02,300
♪ And the autumn took the rest ♪
831
00:56:02,400 --> 00:56:07,600
♪ But they won't take me ♪
832
00:56:07,600 --> 00:56:13,600
♪ I'm the last leaf on the tree ♪
833
00:56:14,700 --> 00:56:20,900
♪ I'm the last leaf on the tree ♪
834
00:56:27,000 --> 00:56:29,300
[playing chords on piano]
835
00:56:34,900 --> 00:56:36,000
[Jordan] You know, we could strike that...
836
00:56:36,000 --> 00:56:38,700
[man] You got "Love Overdue."
Could you talk about that track?
837
00:56:38,800 --> 00:56:41,800
Hats off, yeah.
That was another tip of the hat to...
838
00:56:41,900 --> 00:56:45,200
I've always loved that song
and Gregory Isaacs.
839
00:56:46,100 --> 00:56:49,600
I love nearly all of Gregory's work.
840
00:56:49,600 --> 00:56:53,200
There's a certain urgency about it,
a truth about it.
841
00:56:54,100 --> 00:56:57,700
And so, we knew we were gonna do it.
"Let's do it." You know?
842
00:56:57,800 --> 00:57:00,400
"Give me a reggae beat, Steve." You know?
843
00:57:00,400 --> 00:57:04,100
♪ Who's gonna hold and squeeze me tight ♪
844
00:57:07,600 --> 00:57:10,700
♪ Now that she's gone out of my life ♪
845
00:57:14,600 --> 00:57:20,500
♪ Who's gonna make me feel
the way she used to do ♪
846
00:57:21,500 --> 00:57:24,900
♪ Now that my love is overdue ♪
847
00:57:25,000 --> 00:57:27,100
I've always loved reggae.
848
00:57:27,200 --> 00:57:31,200
Basically, I happened
to start living in Jamaica
849
00:57:31,300 --> 00:57:34,400
in '71, '72,
850
00:57:34,400 --> 00:57:36,700
just as reggae was
catching fire, you know.
851
00:57:36,800 --> 00:57:42,100
In fact, Catch a Fire had just
come out, Bob Marley, and...
852
00:57:42,100 --> 00:57:46,100
Jimmy Cliff, The Harder They Come.
There was a whole explosion that year.
853
00:57:46,200 --> 00:57:47,200
And I'm living there.
854
00:57:48,500 --> 00:57:52,900
[all singing]
♪ He's the alpha, he is our light ♪
855
00:57:53,000 --> 00:57:58,000
♪ I don't need no candlelight ♪
856
00:57:58,000 --> 00:58:01,300
[Richards] It felt like the early days
of rock and roll.
857
00:58:01,400 --> 00:58:05,500
I felt the same sort of energy and joy
858
00:58:05,500 --> 00:58:08,600
and sense of discovery amongst people,
859
00:58:08,700 --> 00:58:11,900
that they'd found their voice.
860
00:58:12,000 --> 00:58:17,700
♪ Rasta, me say love, love, love ♪
861
00:58:17,800 --> 00:58:24,000
♪ Love, love, love, love, love ♪
862
00:58:24,100 --> 00:58:29,400
[Richards] Jamaica provided
an amazing burst of talent and energy.
863
00:58:29,500 --> 00:58:32,300
It was very refreshing to me.
Yeah, yeah.
864
00:58:32,400 --> 00:58:36,000
And, so, you're sort of back in
the beginning of something again.
865
00:58:36,700 --> 00:58:38,800
[playing upbeat music]
866
00:58:50,500 --> 00:58:53,900
What I really love about reggae,
it's all so...
867
00:58:55,700 --> 00:58:57,100
natural, you know.
868
00:58:57,200 --> 00:58:58,800
There's none of this forced stuff.
869
00:58:58,800 --> 00:59:02,800
And at that time,
I was getting really sick of rock music.
870
00:59:02,900 --> 00:59:04,700
Rock and roll, I never get sick of.
871
00:59:04,800 --> 00:59:08,700
But there was less and less of that
and more rock music,
872
00:59:08,800 --> 00:59:12,600
which is actually a white man's version.
It turns out to be like...
873
00:59:14,200 --> 00:59:16,700
They'll turn it into a march, basically,
you know...
874
00:59:16,800 --> 00:59:19,800
♪ We are rockin', yeah! ♪
875
00:59:19,900 --> 00:59:23,800
Yeah, I mean, eventually, that's what...
That's their version of rock.
876
00:59:23,900 --> 00:59:27,300
You know, it's like,
"Excuse me, I prefer the roll."
877
00:59:36,300 --> 00:59:40,400
And that's when the cats,
the Jamaican guys, came in with the horns.
878
00:59:40,500 --> 00:59:43,100
Luckily, Steve's very well connected.
879
00:59:43,200 --> 00:59:44,200
[DeCurtis] Yes.
880
00:59:44,300 --> 00:59:49,200
So, I was like, "What we need here is
a sort of Jamaican horn section."
881
00:59:50,700 --> 00:59:54,200
Man, we need some more smoke.
Get some weed going in this, man.
882
00:59:54,300 --> 00:59:55,500
-Come on, man.
-[Richards] I can do that.
883
00:59:55,600 --> 00:59:57,700
-Yeah.
-[both laughing]
884
00:59:57,700 --> 01:00:00,200
[Jordan] You got a red, black and green
scarf or something?
885
01:00:00,300 --> 01:00:01,400
Can we get Keith's headband?
886
01:00:01,500 --> 01:00:05,500
No, you're not going to dress me, man.
Okay, okay. I will.
887
01:00:07,000 --> 01:00:09,000
[band playing upbeat music]
888
01:00:23,500 --> 01:00:27,500
♪ Whose voice is gonna say goodnight ♪
889
01:00:30,100 --> 01:00:34,300
♪ Now that she's gone out of my sight ♪
890
01:00:36,700 --> 01:00:42,400
♪ Who's gonna tell me lies
and let me think they're true? ♪
891
01:00:43,500 --> 01:00:47,700
♪ And now that my love is overdue ♪
892
01:00:50,300 --> 01:00:54,100
♪ Now that my love is overdue ♪
893
01:01:06,500 --> 01:01:07,700
[Richards chuckles]
894
01:01:17,800 --> 01:01:21,300
[man] So, how did you start
recording solo in the first place?
895
01:01:21,400 --> 01:01:25,400
I was very reluctant to start going solo.
896
01:01:25,500 --> 01:01:29,700
I mean, my thing has always been
The Stones and you know...
897
01:01:29,700 --> 01:01:31,500
You'd leave at your peril.
898
01:01:31,600 --> 01:01:34,000
[laughs]
899
01:01:34,100 --> 01:01:35,800
But things had...
900
01:01:35,900 --> 01:01:40,000
Circumstances had worked out
in the late '80s, that, you know...
901
01:01:40,900 --> 01:01:42,200
obviously, we were not going to...
902
01:01:42,300 --> 01:01:45,500
Mick and I were not going to be
working together for a while.
903
01:01:55,900 --> 01:02:01,100
I called 1985 to '89,
that was actually World War III.
904
01:02:05,800 --> 01:02:09,100
In a 50-year relationship
doing this stuff,
905
01:02:09,200 --> 01:02:12,200
of course, guys have fights,
brothers have fights.
906
01:02:12,300 --> 01:02:14,400
You know, we're brothers.
907
01:02:18,900 --> 01:02:24,100
There was no sign of The Stones, like,
poking their nose above the horizon.
908
01:02:25,200 --> 01:02:27,600
And I was at, really, a loose end.
909
01:02:31,600 --> 01:02:34,700
Suddenly, I get a call to do
the Chuck Berry movie,
910
01:02:34,700 --> 01:02:36,600
Hail! Hail! Rock 'n' Roll.
911
01:02:37,400 --> 01:02:40,500
I mean, obviously, I gotta get into this.
912
01:02:41,500 --> 01:02:45,400
Life wouldn't be complete.
I mean, the circle would be unbroken.
913
01:02:45,500 --> 01:02:48,100
[Berry] That slur is started right here.
914
01:02:48,200 --> 01:02:49,500
[strumming guitar]
915
01:02:50,600 --> 01:02:52,000
Starts on the upper one.
916
01:02:53,500 --> 01:02:54,500
Listen.
917
01:02:55,900 --> 01:02:57,100
All right.
918
01:02:58,800 --> 01:03:02,100
[man] Was he grateful that you guys
were taking the stage?
919
01:03:02,200 --> 01:03:06,400
Chuck... Chuck has his own way
of showing appreciation.
920
01:03:06,500 --> 01:03:08,200
[laughing]
921
01:03:08,300 --> 01:03:09,800
-Why it was being done?
-[Richards] Yeah.
922
01:03:09,900 --> 01:03:11,700
Well, don't touch my amp.
Then it won't be done.
923
01:03:11,800 --> 01:03:13,400
He already said he didn't.
924
01:03:13,500 --> 01:03:15,800
-Well, he says why it's being done.
-[man] All right.
925
01:03:15,900 --> 01:03:18,200
Why it's being done
is because it's not recording well.
926
01:03:18,300 --> 01:03:19,300
[Berry] Okay.
927
01:03:19,400 --> 01:03:21,100
And that's what's gonna
end up on the film.
928
01:03:21,200 --> 01:03:24,200
If it winds up on the film,
that's the way Chuck Berry plays it.
929
01:03:24,300 --> 01:03:26,000
You understand?
930
01:03:26,000 --> 01:03:29,000
-I understand, man. I understand.
-Well, I was talking to Andy about it.
931
01:03:29,100 --> 01:03:31,200
But you've got to live with it afterwards.
They're trying to--
932
01:03:31,300 --> 01:03:33,500
I've been living for 60 years with it!
933
01:03:33,600 --> 01:03:36,100
-I know that. I know that.
-Okay, well, then realize it!
934
01:03:36,200 --> 01:03:38,500
But this is going to be here
after we're all dead and gone.
935
01:03:40,000 --> 01:03:42,600
I was in his dressing room...
936
01:03:44,300 --> 01:03:48,500
and the guitar case was open,
guitar was lying there.
937
01:03:48,600 --> 01:03:51,600
So, I was waiting for him. They said,
you know, "He's coming in a minute."
938
01:03:51,600 --> 01:03:56,600
So, I was just leaning over
and I was just touching the strings.
939
01:03:56,700 --> 01:04:00,500
He came in and slammed me.
[laughs]
940
01:04:02,400 --> 01:04:05,600
That was Chuck...
One of Chuck's greatest hits.
941
01:04:06,400 --> 01:04:08,500
-[band playing "Nadine"]
-[audience cheering]
942
01:04:14,600 --> 01:04:17,300
♪ I saw her from the corner
when she turned and doubled back ♪
943
01:04:17,500 --> 01:04:21,000
♪ And started walkin' toward
a coffee-colored Cadillac ♪
944
01:04:21,000 --> 01:04:23,700
♪ Pushin' through the crowd
trying to get to where she's at ♪
945
01:04:23,800 --> 01:04:26,800
♪ Campaign shouting
like a southern diplomat ♪
946
01:04:26,900 --> 01:04:28,300
♪ Nadine ♪
947
01:04:30,100 --> 01:04:31,800
♪ Is that you? ♪
948
01:04:32,500 --> 01:04:34,300
♪ Whoa, whoa, whoa, whoa ♪
949
01:04:34,400 --> 01:04:35,400
♪ Nadine ♪
950
01:04:36,500 --> 01:04:37,500
♪ Is that you? ♪
951
01:04:39,900 --> 01:04:43,900
♪ Every time I see you,
you've got something else to do ♪
952
01:04:48,600 --> 01:04:51,500
[Richards] No problems
could really interfere
953
01:04:51,500 --> 01:04:53,200
with the fact that this was just fun.
954
01:04:54,600 --> 01:04:56,400
[audience cheering]
955
01:05:01,800 --> 01:05:04,100
[Richards] And that's where I started
to work with Steve Jordan.
956
01:05:04,200 --> 01:05:07,800
Steve and I were just like,
"We're in rock and roll heaven."
957
01:05:16,000 --> 01:05:17,800
[audience cheering]
958
01:05:18,900 --> 01:05:20,100
One...
959
01:05:21,400 --> 01:05:24,100
One word from Keith Richards!
960
01:05:25,500 --> 01:05:27,600
Goodnight, ladies and gentlemen.
961
01:05:28,700 --> 01:05:30,200
Tonight's star.
962
01:05:30,300 --> 01:05:33,700
[Richards] Suddenly, I've got this
incredible band together.
963
01:05:33,700 --> 01:05:34,900
Hand for the band!
964
01:05:35,500 --> 01:05:39,200
[Richards] And Steve and I find it
quite natural to write songs.
965
01:05:39,200 --> 01:05:42,500
We said, "Well, let's..."
You know, "Here, let's cut some stuff."
966
01:05:42,500 --> 01:05:45,200
Ladies and gentlemen, Keith Richards.
967
01:05:45,300 --> 01:05:47,000
[audience cheering]
968
01:06:02,600 --> 01:06:05,300
♪ Giving up lovin' ♪
969
01:06:07,200 --> 01:06:10,200
♪ It's easy to do ♪
970
01:06:11,300 --> 01:06:14,600
♪ People so pitiful ♪
971
01:06:14,700 --> 01:06:16,700
[Waddy Wachtel] When Keith and I
first started to play together,
972
01:06:16,700 --> 01:06:19,700
I knew we were simpatico just by hearing
what he had done all the years
973
01:06:19,800 --> 01:06:22,500
and hearing the hands
touching those strings.
974
01:06:22,600 --> 01:06:27,100
But, yeah, we bonded
pretty extremely, right away.
975
01:06:27,200 --> 01:06:29,600
♪ You shouldn't take it so hard ♪
976
01:06:29,700 --> 01:06:32,100
♪ Yeah ♪
977
01:06:33,600 --> 01:06:37,600
[Richards] In a way, I thought, "Okay,
obviously, I'm supposed to do this,"
978
01:06:37,600 --> 01:06:39,600
because it was organic.
979
01:06:39,600 --> 01:06:44,200
You'd think one great band in a lifetime
is already a miracle.
980
01:06:44,200 --> 01:06:46,700
To put two together,
I mean, it's weird, in a way.
981
01:06:49,700 --> 01:06:53,700
I also understood more of Mick's job...
982
01:06:54,700 --> 01:06:56,000
by being the frontman.
983
01:06:56,800 --> 01:06:58,900
♪ You shouldn't take it so hard ♪
984
01:06:59,000 --> 01:07:00,400
♪ Yeah ♪
985
01:07:00,500 --> 01:07:02,900
♪ You shouldn't take it so hard ♪
986
01:07:03,000 --> 01:07:04,400
♪ Yeah ♪
987
01:07:04,500 --> 01:07:07,000
♪ You shouldn't take it so hard ♪
988
01:07:07,000 --> 01:07:08,500
♪ Yeah ♪
989
01:07:14,700 --> 01:07:16,500
[audience cheering]
990
01:07:19,300 --> 01:07:22,000
[Richards] To be right on top
of everything,
991
01:07:22,100 --> 01:07:24,100
from the first note till the end,
992
01:07:24,100 --> 01:07:28,300
gave me a bit of discipline, actually,
I probably sorely needed.
993
01:07:28,400 --> 01:07:29,900
[laughs]
994
01:07:32,100 --> 01:07:35,000
But working outside of The Stones,
995
01:07:35,100 --> 01:07:38,400
I realized that The Stones,
that's my home.
996
01:07:39,500 --> 01:07:43,800
We set them up and gave 'em to people,
and now we belong to the people.
997
01:07:43,900 --> 01:07:45,300
And I can't let them down.
998
01:07:47,100 --> 01:07:48,900
[crowd cheering]
999
01:07:49,400 --> 01:07:52,300
[reporter 1] The Rolling Stones are back
on their first tour in almost a decade.
1000
01:07:52,400 --> 01:07:55,600
[reporter 2] This will be their 13th
major US tour since 1964.
1001
01:07:55,700 --> 01:07:59,600
[reporter 3] The Rolling Stones launched
their Bigger Bang world tour last night,
1002
01:07:59,700 --> 01:08:04,400
with dates in Canada, the US,
South America, Europe, and Asia.
1003
01:08:06,400 --> 01:08:11,700
[Richards] About 2007, The Stones had been
on the road for a long time.
1004
01:08:11,800 --> 01:08:14,600
And we'd come to a natural gasper,
you know, like...
1005
01:08:14,700 --> 01:08:15,700
[exhales sharply]
1006
01:08:17,900 --> 01:08:22,300
And it occurred to me,
maybe this is the time to do a book.
1007
01:08:24,700 --> 01:08:27,800
I didn't really take it that seriously
to start with.
1008
01:08:27,900 --> 01:08:31,100
But as it went on, I understood that...
1009
01:08:31,200 --> 01:08:35,300
I know who I am and people who know me
know basically who I am.
1010
01:08:35,400 --> 01:08:41,700
But I realize that 999 of them out there
still think Keith Richards is
1011
01:08:41,800 --> 01:08:48,100
smoking a joint, bottle of Jack Daniel's
in his hand, like, walking down the road,
1012
01:08:49,100 --> 01:08:51,800
you know, cursing the fact that
the liquor store is closed.
1013
01:08:53,800 --> 01:08:55,600
An image, man.
1014
01:08:55,700 --> 01:08:57,700
Image like a ball and chain.
1015
01:08:57,800 --> 01:09:02,200
It's not like a shadow,
because it's there 24/24.
1016
01:09:02,300 --> 01:09:05,200
When the sun goes down,
it don't disappear.
1017
01:09:06,100 --> 01:09:07,900
[playing guitar]
1018
01:09:08,000 --> 01:09:10,200
[Waits] A lot of this
has to do with persona.
1019
01:09:10,300 --> 01:09:13,300
You have to have some type of armor
1020
01:09:13,400 --> 01:09:17,300
so that you can continue to also develop
as a human being, you know.
1021
01:09:17,400 --> 01:09:22,200
It's like you have a recipe,
and you have a beverage,
1022
01:09:22,300 --> 01:09:26,000
and you have a...
a sandwich named after you, pretty much.
1023
01:09:26,100 --> 01:09:28,200
It's like, what it comes down to, right?
1024
01:09:28,300 --> 01:09:31,500
But you're still able within,
inside that...
1025
01:09:31,600 --> 01:09:34,100
you're able to still grow and change.
1026
01:09:37,200 --> 01:09:40,600
It's kind of a ventriloquist act
a lot of the time, you know.
1027
01:09:40,700 --> 01:09:44,600
But it's much safer than
putting your own ass out there,
1028
01:09:44,700 --> 01:09:49,000
like Judy Garland, you know,
and melting every night.
1029
01:09:51,200 --> 01:09:52,900
[Richards] You can't buy a persona.
1030
01:09:53,900 --> 01:09:57,200
You can either make it up,
or you can be it.
1031
01:09:58,800 --> 01:10:05,500
My idea of actual heaven is to be a
rock and roll star that nobody ever sees.
1032
01:10:06,700 --> 01:10:09,100
[laughing] Totally anonymous.
1033
01:10:09,900 --> 01:10:14,200
You know, you gotta go out
and do this thing sometimes.
1034
01:10:17,800 --> 01:10:20,800
And so after the book came out,
the next thing I knew,
1035
01:10:20,900 --> 01:10:23,800
Steve came to me and said...
1036
01:10:23,900 --> 01:10:26,500
"Let's get away from the chicks."
[imitates playing guitar]
1037
01:10:28,000 --> 01:10:30,200
And then he's like, "Say we're working,
you know what I mean?"
1038
01:10:32,500 --> 01:10:35,400
There's fates of rock and roll, you know.
1039
01:10:36,200 --> 01:10:40,100
And to do that,
you eyeball each other and say...
1040
01:10:41,200 --> 01:10:45,000
"One, two... let's go!"
1041
01:10:46,600 --> 01:10:48,600
[playing rock and roll music]
1042
01:11:05,000 --> 01:11:07,000
This is what rock and roll is about.
1043
01:11:07,100 --> 01:11:09,000
You feel like you're levitating.
1044
01:11:09,600 --> 01:11:13,200
And when all of the guys around you
are playing, and you're saying,
1045
01:11:13,300 --> 01:11:17,300
"They're feeling it too.
I know it, I know it."
1046
01:11:17,400 --> 01:11:22,300
And you go for those moments
where you actually, you know, fly.
1047
01:11:27,000 --> 01:11:29,600
And you just hang on to it
as long as you can,
1048
01:11:29,700 --> 01:11:32,200
because it is one of
the best feelings in the world.
1049
01:11:32,300 --> 01:11:34,200
It may be only rock and roll, but...
1050
01:11:35,300 --> 01:11:36,800
I'm telling you what...
1051
01:11:39,200 --> 01:11:40,700
that's the shit.
1052
01:11:40,800 --> 01:11:42,200
["Mannish Boy" playing]
1053
01:11:47,100 --> 01:11:49,200
♪ Now when I was a young boy ♪
1054
01:11:50,900 --> 01:11:53,600
♪ At the age of five ♪
1055
01:11:55,500 --> 01:11:59,800
Of all of the people I have ever met,
Muddy Waters, he was a father to me.
1056
01:12:01,400 --> 01:12:03,600
[man] Yeah, that's right!
[Waters] What about Keith?
1057
01:12:06,300 --> 01:12:08,200
[Richards] He took me under his wing.
1058
01:12:09,500 --> 01:12:13,000
It was just amazing
to finally play together.
1059
01:12:13,100 --> 01:12:16,500
Was I honored by that?
Man, I had died and gone to heaven.
1060
01:12:16,600 --> 01:12:18,600
-♪ I have lots of fun ♪
-Yeah!
1061
01:12:20,600 --> 01:12:21,600
♪ I'm a man ♪
1062
01:12:21,700 --> 01:12:22,700
Yeah!
1063
01:12:24,800 --> 01:12:26,400
♪ I spell "M" ♪
1064
01:12:29,200 --> 01:12:31,200
♪ "A," child ♪
1065
01:12:33,000 --> 01:12:34,500
♪ "N" ♪
1066
01:12:37,500 --> 01:12:39,400
♪ That represents "man" ♪
1067
01:12:40,200 --> 01:12:42,100
For the first time ever...
1068
01:12:42,200 --> 01:12:44,100
A Stones' show,
"What are you gonna wear?"
1069
01:12:44,100 --> 01:12:46,400
"We don't give a shit,"
you know what I mean?
1070
01:12:46,500 --> 01:12:51,100
For the Checkerboard show, Ronnie and I
were like, "What are we gonna wear, man?"
1071
01:12:52,300 --> 01:12:55,600
"White shirts, black vests." You know?
[laughs]
1072
01:12:55,600 --> 01:12:59,400
We actually talked about what
we were gonna wear before we go on.
1073
01:12:59,500 --> 01:13:02,700
This is the only time, ever,
I can remember doing that.
1074
01:13:02,800 --> 01:13:05,000
♪ The line I shoot ♪
1075
01:13:06,900 --> 01:13:09,300
♪ Hell, I'll never miss ♪
1076
01:13:11,200 --> 01:13:13,100
♪ When I make love to a woman ♪
1077
01:13:15,300 --> 01:13:16,900
♪ She can't resist ♪
1078
01:13:19,000 --> 01:13:21,100
♪ I think I'll go down ♪
1079
01:13:23,400 --> 01:13:26,000
♪ To old Kansas Stew ♪
1080
01:13:27,900 --> 01:13:29,900
♪ I'm gonna bring back the second cousin ♪
1081
01:13:31,900 --> 01:13:34,200
-♪ That little Johnny Cocheroo ♪
-Yeah, baby!
1082
01:13:36,000 --> 01:13:38,800
♪ All you little girls ♪
1083
01:13:40,500 --> 01:13:42,500
♪ Sittin' at that line ♪
1084
01:13:44,400 --> 01:13:46,800
♪ I can make love to you, baby ♪
1085
01:13:48,700 --> 01:13:50,500
♪ In five minutes' time ♪
1086
01:13:50,600 --> 01:13:52,700
[mouthing]
1087
01:13:52,800 --> 01:13:54,000
♪ Ain't that a man? ♪
1088
01:13:54,000 --> 01:13:55,200
♪ Yes, man ♪
1089
01:13:57,000 --> 01:13:58,800
♪ I spell "M" ♪
1090
01:13:58,900 --> 01:14:00,200
[Jagger] Yeah!
1091
01:14:01,200 --> 01:14:03,600
♪ "A," child ♪
1092
01:14:05,400 --> 01:14:06,500
♪ "N" ♪
1093
01:14:09,100 --> 01:14:11,000
Oh, man.
1094
01:14:12,900 --> 01:14:14,300
[Richards] Muddy's house.
1095
01:14:15,600 --> 01:14:16,700
[chuckles]
1096
01:14:16,800 --> 01:14:21,600
Wow. You would've thought Chicago could do
something more for the man, you know?
1097
01:14:21,700 --> 01:14:25,900
It was a lot more vibrant
the last time I was here.
1098
01:14:26,000 --> 01:14:27,800
It was a party.
I mean, it was night time.
1099
01:14:27,900 --> 01:14:30,000
I think Willie Dixon brought me over.
1100
01:14:30,100 --> 01:14:32,800
It was rocking when I got here,
I remember that.
1101
01:14:32,900 --> 01:14:35,500
It's leaving I don't remember.
1102
01:14:37,000 --> 01:14:41,400
I crashed out here.
But I woke up in Howlin' Wolf's house.
1103
01:14:41,500 --> 01:14:44,600
I don't know what happened.
I got carried away.
1104
01:14:44,700 --> 01:14:47,000
The party continued, and I went with it.
1105
01:14:47,100 --> 01:14:49,100
-[Richards laughing]
-[crowd cheering]
1106
01:15:00,400 --> 01:15:02,300
[Waters] Get Mickey a towel, will ya?
1107
01:15:02,400 --> 01:15:04,000
Thank you very much, ladies and gentlemen.
1108
01:15:04,100 --> 01:15:05,400
We'll keep the show moving.
1109
01:15:05,500 --> 01:15:08,800
Mr. Muddy Waters! Give it to him!
Give it to Mr. Muddy Waters.
1110
01:15:08,900 --> 01:15:11,200
[man] You know, Muddy was younger
then than you are now.
1111
01:15:11,300 --> 01:15:14,700
I mean, it seems like you,
when you were young,
1112
01:15:14,800 --> 01:15:16,300
kind of wanted to be one of those guys.
1113
01:15:16,400 --> 01:15:19,300
And now, in a way,
you kind of are one of those guys.
1114
01:15:20,500 --> 01:15:21,700
Yeah, I know.
1115
01:15:31,800 --> 01:15:33,600
Life's a funny thing, you know.
1116
01:15:33,700 --> 01:15:35,300
And nobody wants to get old,
1117
01:15:35,400 --> 01:15:38,100
but they don't wanna die young either.
1118
01:15:38,200 --> 01:15:43,100
You know, and you just gotta follow
this thing down the path, you know.
1119
01:15:43,700 --> 01:15:49,000
♪ Well, Irene, good night ♪
1120
01:15:50,000 --> 01:15:51,400
♪ Irene ♪
1121
01:15:52,300 --> 01:15:57,200
♪ Irene, good night ♪
1122
01:15:58,500 --> 01:16:02,700
After I left home,
my dad and my mother split up.
1123
01:16:03,900 --> 01:16:07,600
And then I lost touch
with my dad for 20 years.
1124
01:16:08,600 --> 01:16:13,900
♪ I'll see you in my dreams ♪
1125
01:16:15,700 --> 01:16:19,300
Maybe, 'cause I was thinking about,
"God, what he must've thought of me?"
1126
01:16:19,400 --> 01:16:21,400
I mean, he was a straight-up guy.
1127
01:16:21,400 --> 01:16:23,700
I mean, a hardworking man and all that.
1128
01:16:23,800 --> 01:16:28,000
You know, I mean, the idea of his son
being busted for drugs.
1129
01:16:28,100 --> 01:16:29,800
I could think of him saying...
1130
01:16:30,400 --> 01:16:32,800
"Well, he'd never come to any good."
1131
01:16:33,800 --> 01:16:38,600
♪ Sometimes I take that great notion ♪
1132
01:16:41,700 --> 01:16:47,800
♪ To jump in that river and drown ♪
1133
01:16:47,900 --> 01:16:52,500
After about 20 years,
I wrote him a note and got one back.
1134
01:16:52,600 --> 01:16:56,100
And we set up a meeting
at my house in England.
1135
01:16:56,200 --> 01:17:00,500
I took Ronnie Wood with me for protection.
That's how scared I was.
1136
01:17:02,000 --> 01:17:05,400
The door opens and
out comes out this little old guy.
1137
01:17:05,500 --> 01:17:08,500
You know, his legs have gone a bit
and he's like...
1138
01:17:09,500 --> 01:17:12,500
But it was Dad, you know, and it was...
1139
01:17:12,600 --> 01:17:17,300
It was so easy. Within a few minutes,
we sorted it all well out.
1140
01:17:17,400 --> 01:17:21,500
And he became, for the next 20 years,
my best mate.
1141
01:17:28,300 --> 01:17:29,800
For another 20 years,
1142
01:17:29,800 --> 01:17:34,000
he came on every trip, every show,
come around the world with me.
1143
01:17:34,000 --> 01:17:36,100
And I loved to show him the world.
1144
01:17:36,200 --> 01:17:38,300
And he didn't mind seeing it either.
1145
01:17:39,600 --> 01:17:40,800
[inaudible]
1146
01:17:45,200 --> 01:17:47,000
Oh. [chuckles]
1147
01:17:47,100 --> 01:17:49,000
Poor old boy.
He's older than I am.
1148
01:17:50,000 --> 01:17:51,600
Right, babe?
1149
01:17:53,800 --> 01:17:59,900
♪ So, Irene, goodnight ♪
1150
01:18:00,600 --> 01:18:03,800
My family, they're incredibly important,
you know.
1151
01:18:04,900 --> 01:18:09,200
When you see offspring of offspring,
then something else hits home.
1152
01:18:09,200 --> 01:18:11,200
I mean, it's one thing having a kid.
1153
01:18:11,300 --> 01:18:14,600
But when you get the grandsons
and the granddaughters,
1154
01:18:14,700 --> 01:18:16,100
well, that is...
1155
01:18:16,100 --> 01:18:17,800
that's an amazing feeling.
1156
01:18:18,900 --> 01:18:23,500
I don't know of what. Accomplishment?
I don't know. Or continuity?
1157
01:18:24,900 --> 01:18:26,200
But basically, love.
1158
01:18:26,300 --> 01:18:29,200
♪ Goodnight, Irene ♪
1159
01:18:30,000 --> 01:18:32,900
♪ Goodnight, Irene ♪
1160
01:18:33,900 --> 01:18:39,800
♪ I'll see you in my dreams ♪
1161
01:18:39,900 --> 01:18:41,300
[Richards] I've been blessed, man.
1162
01:18:41,400 --> 01:18:45,600
I'll play as long
as I can get away with it.
1163
01:18:45,700 --> 01:18:47,200
And that's all I can do.
1164
01:18:50,200 --> 01:18:52,100
I'm not getting old.
I'm evolving.
1165
01:18:54,700 --> 01:18:56,800
[singers vocalizing]
1166
01:19:04,300 --> 01:19:06,900
[upbeat music playing]
1167
01:19:07,500 --> 01:19:10,000
[indistinct chatter and laughter]
1168
01:20:56,000 --> 01:20:57,500
[man 1] Right on.
1169
01:20:57,600 --> 01:21:00,500
-Right on.
-[man 2] That was a fine piece of work.
1170
01:21:00,500 --> 01:21:03,400
[Richards] Once again, Larry,
great to see you, man.
1171
01:21:03,500 --> 01:21:06,000
[man 3] All right.
[man 4] Oh, yeah. I like this stuff.
1172
01:21:06,100 --> 01:21:07,500
[man 5] Yeah, balls to the walls,
gentlemen.
1173
01:21:10,900 --> 01:21:12,500
[Richards laughing]
92087
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