0:05
How you doing? All right? >> Yeah, good. You? >> Good, yeah. Not so bad.
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Harry Connick, you've got so many cameras. >> Yeah.
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>> You're kind of a big deal.
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>> No, but >> You're a big deal.
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>> I love that you finally just realized that.
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Like >> No, but >> Yeah, I just realized for the first time in my entire life I'm a big deal.
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>> I'm worth four cameras.
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>> You know, you you >> Or three cameras.
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>> [laughter] >> Uh, I bet everyone camera is like, "How many did Mick get?"
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>> Yeah, he had four of them. >> What if I got three? >> Wait a minute.
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>> Where's the extra angle?
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>> I thought I had to dress up for today. >> You look amazing.
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>> I've got some really cool casual wear I could have worn like yours. >> Do you know what? Cool, man.
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>> Yeah, so now we're match. >> Now we're the same. >> I love it. [laughter] >> I wish.
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>> [music] >> Ronnie, at last. >> How are you, man? >> All right, brother.
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>> So, there you are, mate, in a room you know very well, I'd imagine.
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What do you put it down to, the longevity of the Stones?
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You've outlasted everyone. >> Go to bed early.
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There's no There's nothing like it.
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>> [music] >> Man, so much joy in the room making this record. You can just tell.
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First, you can hear it, and then seeing a little bit of BTS on on the making of it. It's real.
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You were bouncing off each other. >> Yeah, yeah.
1:20
It It was done pretty quickly.
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But on the last album on the Hackney's album is down there Addie and I had this plan that you know, instead of you know, there's lots of ways of recording.
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You know, we used to be in the studio.
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We'd spend ages in there all night trying to make up songs that weren't written and So, we said we're going bulldozer approach.
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So, No one No one really has a No one really has too much of a chance to take a song to pieces and say, "I don't really like this.
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I don't I don't think it's going to work."
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Or I You know, you know what?
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It This could not be my cup of tea.
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Cuz you can always not use it, you know?
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Just get on with it and do it, like.
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This is Let's try this, bang, you know, and and do it as fast as possible.
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And then people get into it and and they put their own stamp on it and change it and make it better.
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And we more or less did the same thing here.
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I mean, you you don't I mean, you hope to get one and a half songs a day.
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So, you get one song done and the next one half done so everyone knows it, kind of thing.
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You come in the next day and do it.
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Pretty good vibes in there.
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I mean, it was a good room.
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Um >> Producer's all right.
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>> Yeah, the producers are right. The drummers are right.
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>> [laughter] >> It's nice to talk with you about this album, Keith.
2:31
And and you being at Electric Lady makes me wonder, you know, for you at least, how important is the room when you're making the record?
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You did it at Metropolis in London this time around.
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You've done lots of recording all over the world. >> Yeah.
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>> Um does it matter to you greatly where you are when you're inspired and making records?
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>> Um a room, yeah, it can be very important.
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And you never know until you get in there and start playing whether You'll always get something out of it, but some some rooms you have to fight and others sort of you realize that they're welcoming you in.
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And it's uh And there's not something you can put your finger on.
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It's uh It's just the way it is, you know?
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I mean, you you you listen to a playback and say, "Uh-huh, we're going to have trouble with the drums here."
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And you know, and sure enough.
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But then the At the same time, you get some really good records out of rooms that uh initially you're feeling uh you know, you're having to have a little fight with them, you know, because then when you've had the fight and you've made up and uh and they've got You've got a character of its own, so you know, they're They're all They're all great rooms by the time you're finished, you know.
3:45
>> That [clears throat] fight, man, I love I love that, you know, that's it's a tough word, fight, right?
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It has many connotations, but I feel like within The Stones, it's one of the key words in the glossary and I'm not talking about interband dynamics but early in the conversation for that.
3:58
I'm just talking about getting in there and and fighting for these songs and these riffs and I feel like you've always tussled with your music a little bit in a good way.
4:06
>> Yeah, nothing comes easy or if it does it's not as good as it should be.
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There's nothing like a little uh tussle you know to to anyway I know that way you remember it you know.
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>> You've got access to Electric Lady and you know you got Hints and these are these are world-class studios.
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Why did you guys decide to settle in London for the majority of the recording?
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>> Uh what world-class studios are world-class no matter where you are.
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And to go in a studio on our doorstep virtually in in London.
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My Jim is the only one who lives in London.
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>> I was going to say it works for you.
4:43
>> No, for me it was easy to get there and but not only that to find that it had the vibe of the [snorts] old Olympic Studios where they recorded so many great things back in the day with Jimmy Miller.
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Now that we have that kind of rapport going again with a producer like Andrew Watt the energy comes and he doesn't work with anything other than the best. >> Yeah, yeah, yeah.
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>> He has to have the best in the world you know to work with. >> Yeah, yeah.
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>> And um it's everywhere we go especially in the closing stages and um Metropolis.
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>> The playing on this record is so beautiful.
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The energy in the room is clear and being in the room together and playing together and recording together is obviously the most joyful part of making a record I would imagine for all of you.
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I don't know if it's always like that if you aspire to that but it doesn't always work out that way but >> No, it's always like that because you must have that core feeling as a band being a band you know. >> Yeah.
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>> And that interaction you cannot replace it.
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>> You were having fun though.
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There's a bit where I think Mick says, you know, we got to get the guitar players to learn the chords. I'll do that tomorrow. I'm having too much fun.
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What was so fun about making this album?
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>> I suppose uh the element of um interaction and spontaneity.
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Spontaneity is the operative word here because we'd get the basic idea of a song.
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Say Mick had an idea or something and and said, "Come in the other room.
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Let's routine it, right?"
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And so I get the basic structure.
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And then everyone else had their own idea of the basic structure.
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As long as it came back to that, it's fine.
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You could do anything you wanted then.
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>> The only thing you're fighting is the room and the song.
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You're okay as long as you're not fighting each other.
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But um yeah, no, it was it was fun to make and uh it took us all of all of me to cut it and uh everybody was right on.
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Uh Steve Jordan and Daryl Jones you know, working in my you know, the new rhythm section, you know, so uh I'm sure Charlie Watts is beaming down on us, so I feel good about that, you know.
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>> Yeah, I wondered how it must feel for those guys, you know, and and and you'd have a much better take on that than anybody else being in the room.
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These are uh uh family members of yours who've toured with you, traveled the world with you, and helped you keep this music alive in front of audiences.
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But for them to be now on the record after all that time contributing to the process, must have been really special for you to see.
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>> Yeah, it felt it felt good to me to get the sort of this this generation of the Stones on record, you know, it was um uh it's kind of special.
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And uh as I say, they were playing so good.
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I could have gone on for another month, you know, I mean.
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It was Charlie Watts that uh did uh uh suggest to me that if ever I was going to work with another drummer, it should be Steve Jordan.
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And uh Steve is a great admirer of Charlie's way of playing.
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He sort of grew up listening to Charlie, too.
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So, there was it although despite the differences, there's an an automatic sort of appreciation of each other and and what they could do.
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So, I mean, I felt I felt you know the working with Steve that is working with you know with family, you know.
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>> It also, you know, it's it's moving hearing Charlie play on the album.
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>> Yeah, it's nice to have that one in the bag.
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We've got a few beats of his in the bag, you know.
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>> Oh, still waiting around? Amazing. >> Yeah. >> Yeah. Yeah.
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>> Because I went over to Paris at mix, I said, "I've got these ideas.
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Will you come over with Charlie?"
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And I said, "Yeah, come on, let's run them."
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So, we ran like nine in one day and we did I think we did about 20 riffs and songs um the basic track.
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So, all these different ideas and Charlie was just like water off a duck's back, you know.
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Okay, do you want the next song?
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You know, we were just rocking.
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I got all my a lot of guitar parts from there as well, just off the top of my head, you know.
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>> You know, it's one thing for Steve to step in and play live and that's beautiful and and the pathway was set for him even through the tragedy of losing Charlie, but to have Steve on the record, it's it it brings a whole new chemistry.
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It's a new point of for the Stones.
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Except it hit me on the head when we get Charlie back in the game.
9:00
Ronnie actually did it slip you guys might have like a couple of dozen or more ideas from Charlie from those two sessions in Paris.
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>> Well, we we have Yeah, we have a lot of Charlie things, but this one was a session from Henson where we we used a couple of those on the Hackney Diamonds where we recorded the drums originally and then we we only used the drums from those sessions and we we we re-recorded the guitars and everything and bass and all that.
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>> On this day in 2026, if I ask you, what did you love about the way Charlie plays drums? What would you say?
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>> Well, he always whatever style he played, it always had swing, you know, always had swing.
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Didn't have It wasn't like a loud, powerful drummer.
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Uh he was a more subtle He was a jazz drummer, really, that played rock very well.
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I mean, it was obviously was a rock drummer. >> Yeah.
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>> But he's well-up on jazz, but that gives you a different technique.
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So, his technique's different.
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So, he He's a He was a relatively quiet drummer.
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Um cuz in the studio, you don't notice that because, you know, you can make it as loud as you want.
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But really in the room, he wasn't a loud drummer. >> Yeah.
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>> Steve's very loud in the room. >> Yeah, yeah.
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>> Compared to Charlie, cuz very loud. So, you know, whoa.
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So, the volume levels are up.
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>> As a As a bass player and guitar player, as someone who exists in rhythm and in groove, >> Yeah.
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>> you know, thinking back now to Charlie's playing and reflecting a little bit on it rather than just being in it, you know, what what did you love about Charlie's playing?
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What was unique about his playing for you as a as someone who loves groove?
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>> Well, for instance, if I played "Emotional Rescue" with him, like I did on the record, it was a lot of interplay.
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I was playing to his drums. Yeah. It was great.
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And he was playing to my bass.
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And then the guitar wise, he he just used to go "Oh, look at him, you know, man. He's driving it. Off he goes, you know."
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>> [laughter] >> And he'd say out loud as well, "Ronnie's off again. Let's go." You know.
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>> He was >> [laughter] >> He was so instinctive.
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Like I think about like something as well known as "Can't You Hear Me Knocking?"
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And I think I know that was done in one go.
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And And I think about his like, you know, the bit where the first time Mick says it and he goes pop pop like a knock. >> Yeah.
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>> It's like he was right there.
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He knew what was going to happen.
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It's like he was existing in the moment. He was so present. >> Yeah.
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And that he passed a a lot of that respect through Steve Jordan, you know.
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Steve was watching him all the time, and Charlie knew it.
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And he handed the baton on to Steve, you know. >> Yeah. >> Nice.
11:22
>> Nice. Thinking about writing when you write the songs is that you you you think you know them, and then as you do the vocal overdubs, you or and and or you do the in the studio you do it for a couple of hours you get to know your own song better obviously cuz you haven't even
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done it as done it at home playing the guitar at home or piano or done a demo you've done it maybe once you go okay that's enough and move on to the next one because you don't spend all day making demos you're doing that lots and lots and lots of them so you get to know them and then in the
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overdub sessions you really get to feel them I mean I think it it get lucky sometimes >> Everybody in the band has a has a no right you have the ability to say no it's what what what what keeps everything lean and mean and keeps bands focused and and I I wanted to know looking back on it
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what what made Charlie say no where would he draw a line >> That's hard that's a hard question I mean he didn't he used to try everything he would he wouldn't say no he wouldn't say no I'm not doing that >> So he wasn't the voice that would be like that's not us >> No that's not Charlie he wouldn't
12:27
>> Who's that voice >> Keith of course I mean but I have to point out to Keith that there is no real us you know that because the Rolling Stones I mean the most streamed track of the Rolling Stones by far is Paint It Black that's not that's not a classic rock track you know
12:44
at all that that's like I don't know what you call it you know what kind of music is that but that's my point my point is we were happy to do that of course and I mean I don't remember anything about it the session but I mean there it is and >> The Rolling Stones has a very large repertoire of styles >> Yes
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>> So it's not just a blues band but however most most of what the Rolling Stones do however having said all that is rooted in in some way in a in blues style has blues notes has blues in it somehow you know even though they might be maybe Angie doesn't but even Angie might >> [laughter]
13:22
>> you know what I mean but so the Rolling Stones has all these different styles that they're capable of doing and I think, you know, you've got to show them all off, you know, you don't want to get into a thing where you're only oh, that's not the Rolling Stones doing this because you don't know till you try. And
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And and then when we were young, we would try all those things, you know, and as you get older you get I think you get a bit more conservative and you don't want to try as many things, you know, you want to stick to what you know.
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Whereas when you're 21 or 22, you do find it lightning and you go >> Yeah, think about it. Don't think about it. It's just done. >> Yeah.
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>> And then you don't have anyone going to like it. It's that's crazy.
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No, it's good to listen to that.
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>> No, I'm going to spend the rest of the the rest of the time I'm going to analyze those lyrics upside down and inside [laughter] out. >> Exactly. >> Yeah.
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>> We're talking about magic here.
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I mean, I spent my life talking to musicians and artists.
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Initially I thought to try to uncover all of this and then I realized that no, it should be left alone.
14:14
The best thing you can do is find out where the spirit is that inspires it, you know, and so do you still sit there with your guitar in your hand and something comes to you through the portal, you know, and you're just like You as it is mysterious to you today as it was the day you started doing this.
14:31
>> Uh yeah, yeah, that that's one thing that is as mystifying and as the first song I that Mick and I ever wrote, you know, and we were locked in a room by our then manager and said to told to come out with a song and Mick and I looked at each other There's a kitchen, too.
14:49
So, I mean, first off we ate the place out, you know, and then And he's and he's not going to open the door until we've got a song and uh And by the end of the well, it was the morning by the time, you know, um and we came out with As Tears Go By, which Andrew gave to Marianne Faithfull.
15:13
And after that, it was off to the races, you know, because Mick and I just had I thought it was really difficult to write songs, but given the circumstances and who you're with, it was not a it was fun, you know.
15:25
And and after that, you know, then you then you go, you know, and just pick the damn thing up and say, "I'm waiting." You know.
15:33
>> The album starts with Rough and Twisted, which is a beautiful, poignant way for for me as a fan of the Stones for the record to start because in a way it takes you back to the start.
15:42
It's It's taking everything you've learned and reapplying it to what inspired you in the first place.
15:47
That's how I feel about it, at least.
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>> Yeah, well, what we cut it very early on in the in the process of this record, but um what happened is when we were listening to all the tracks, I I automatically and Mick and I sort of looked at each other and said, "That has to be the starter." You know.
16:05
That uh That that has a sort of character about it that says it all, and from there we can build on it and work on it.
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So, uh it was Yeah, it's got that Chicago blues feel on it and uh and Mick's playing some great harp, and uh you know, there you go.
16:22
>> Is it Mick that starts the process of making an album?
16:24
Is he Is he the one that's like, "Let's get the Stones back together.
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I've got something I want to say.
16:27
We should make a record."
16:29
And what's that process like of how challenging it is getting everybody on the same page to get into Metropolis or whatever?
16:35
>> Yeah, well, it's challenging to get everyone in the same country, never mind in the studio.
16:40
But um yeah, once it is operational and functioning, it's we just kick, you know, kick off each other.
16:49
Uh Mick being the main drive, if you can fire up his engines, you know.
16:56
He just interacts so closely with the drums and the guitar and the bass, everything, and the pianos, keyboards.
17:04
>> You've got the ingredients, and you know, the things you made the most of it.
17:06
You're singing out of your skin, and the writing.
17:07
You're dealing with some really interesting topics. Your eyes are wide open.
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You're taking a look at the world around you.
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You're not leaning into old habits or old skills, which you'd have every right to having done this for a long time.
17:16
You're pushing yourself as a writer.
17:19
>> Yeah, >> am I writing like music and lyrics as as well, you know, I try to push both things.
17:24
Obviously, you're going to do things that that some people will relate to other things.
17:29
You know, this is a bit like this or this is a bit like that, you know.
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And um sometimes Andy does that.
17:35
This sounds a bit like this.
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And I say, "Andy, but yeah, okay, but doesn't to me.
17:39
So, don't let's harp on that.
17:41
Don't let's amplify that, you Yeah.
17:41
you know, that it it sounds a bit like something you've heard before from the Stones.
17:46
>> And that's interesting cuz normally it's the other way around.
17:47
Normally, it's the artist going, "I don't want to do anything that sounds a little bit like what we've done before."
17:51
Cuz there's some truth in that.
17:53
When I listen to Foreign Tongues, it does sound a little bit like This Is Your Life from a creative point of view, cuz this it starts with a blues song, Yeah.
17:59
which isn't lost on me and shouldn't be lost on anybody. >> exactly.
18:03
>> Let's take it back to the beginning.
18:04
>> And then there's a little bit of emotional rescue era in there and a bit It's like you dabble in all of it.
18:09
>> yeah, we grab all of it, but it's it's sort of updated.
18:10
If you actually play them side by side, it wouldn't sound sonically sound the same.
18:14
No, I mean, the bass playing wouldn't sound the same.
18:17
The the you know, the the way the voices are recorded wouldn't sound the same.
18:22
>> Yeah, I mean, Jealous Lover, like when you come in with the falsetto on Jealous Lover, >> It's just a falsetto, but it's not >> Yeah, but it's not It's your falsetto.
18:29
>> but it's not really like one I've done before, to be honest. >> Yeah, yeah.
18:32
>> Cuz all the falsettos I've used before have have been much uh sweeter, mostly sweeter tunes and not so hard driving.
18:40
>> And it is the most unique falsetto, and not to spend too much time zeroing in on it, but every great singer finds their gift if they can, finds their falsetto, and it's a pretty impactful time.
18:48
>> Yeah, man, I did it I copied this singer called Don Covay in a the first Stones album.
18:52
It was actually the first Stones album, and he sang this song called uh Have Mercy.
18:57
And in he sings it nearly all in falsetto, and I just copied it.
19:02
I'd never done it [clears throat] before, cuz all the songs I'd done before in regular voice. So, I just copied it.
19:07
I was like, "Oh, I can do that."
19:08
And I "Oh, it's not that difficult."
19:12
>> [laughter] >> 50 or 60 years later like, "Man, I wish I could do better."
19:16
>> No, but you see, but if you listen to someone like Al Green, the thing about it, it's easy to sing in falsetto if you're doing it all the time.
19:22
It What is What a more talented singer or more trained singer in church would do is is is the transition from your regular voice to the falsetto and back again in the same line.
19:34
That's much more difficult.
19:36
When I wrote "Jealous Lover," uh I was playing on the piano.
19:40
So, I I know like five chords, so they were the same ones.
19:44
And I was singing in falsetto and I had a hip-hop three on my drum machine.
19:48
So, [laughter] that That was the five, you know, those very simple drum machines.
19:52
It's like from the '90s and it's got like It just does only kind of groove beats. It doesn't do rock. So, it's So, okay. Hip-hop three, bang.
20:00
So, I I started playing the piano to that.
20:02
And then I'm in the middle of it and then I like to get this phone call. And it's Andy.
20:09
And I'm going, "Andy, I'm just in the middle of a song."
20:11
And he says, "Keep playing, man."
20:12
And I'm going, >> While he's on the phone. Yeah. >> I'll keep playing. I go, "No."
20:16
I was Okay, here's it again.
20:20
He goes, "I got this so far.
20:21
I'm only halfway through. I haven't finished it."
20:22
And he said, "Yeah, that sounds fantastic."
20:24
You know, "I'm going now, Andy. Goodbye." And then carry on.
20:29
>> [laughter] >> I carry on playing the piano.
20:30
But, that was a That was an easy one to write.
20:34
>> Let's talk about Andrew Watt, who's just like living out his dreams right now working with you know, the kinds of artists that all of us music fans would dream to be in a room with and and he get you know, it's the second Stones record.
20:46
His enthusiasm for making music is well documented.
20:48
You know, and I love the fact that he's able to remind you of certain parts of what make your band and anyone he works with great >> True.
20:58
>> that perhaps the the desire for experimentation may sacrifice along the way.
21:02
He allows you to grow, but also reminds you what is at the core of the Stones DNA. How does he do that?
21:09
>> I'm very glad that we met Andrew when we did because as he knows so much about the Stones that I've forgotten.
21:15
And his enthusiasm for it was is you can't beat it.
21:21
He's great fun to work with.
21:22
And really the only reason we have Foreign Tongues out is because we did so much work on Hackney Diamonds that Andrew and I both looked at it and said somehow this is really a double album except you know we'll just give it a year or two of a break.
21:43
Because before I think it was 18 years between studio records which was kind of stretching it a bit you know.
21:51
>> [laughter] >> But he's probably got ideas for a third album already that >> I'd say so. I'd say so.
21:59
His inherent love of the of who he's working with informs whatever you're making today.
22:04
And so there are times like when he's trying to get you to remember a guitar tone or a sound or even just a a slight left or right to the riff and he'll give you a reference point that you're like mate, I don't have enough CPU power to go back and figure out how I did that.
22:22
Do you do you know what I mean?
22:22
It's like trying to meet yourself where you stood.
22:25
>> You get a lot of that with him because he'll say you know how did you do that on Beast of Burden?
22:30
And I go you know how long ago that was and I don't know.
22:35
And he'll get what he's looking for because there'll be some little twist or move that I hadn't thought of because and he'll that's it.
22:46
So his way of working is you know is >> [snorts] >> has its has its methods you know. >> Oh yeah no for sure.
22:52
There's always the possibility of a really interesting cast of characters coming in as well because of his his ability to connect so many dots. else.
23:00
Winwood you've known a long time, but I mean, having Steve on >> Yeah, no, for this album, I mean, Stevie Winwood, I've I've been I mean, I've known Stevie since he was 15.
23:11
And you know, I never got around to playing together.
23:15
And then suddenly, who's on the doorstep? Thanks to Andrew Watt.
23:17
But Stevie Winwood, you know, which is a great pleasure to play with, you know.
23:24
The The only other connection we had musically was that uh Jimmy Miller was his producer on I'm a Man and Keep On Running, which was uh about 1967 or six or something.
23:41
And he then produced, you know, a whole load of albums with us, starting with Beggars Banquet and, you know, through Exile.
23:50
And um so, that was otherwise our only connection.
23:54
So, you know, and I'm sure Jimmy Miller is smiling in his own way.
23:59
About the connection, you know.
24:01
>> I loved watching some of the footage of you and Watt in particular vibing off each other.
24:05
I think it was during the making of Mr. Charm.
24:07
There's a moment you're playing and he's right there and you're sort of looking at each other.
24:12
And he's >> there all the time, you know.
24:13
>> gets in it, doesn't he? >> Yeah.
24:14
And he knows how I play and he milks the best out of me, you know. >> Yeah.
24:19
Well, I want to talk about that because what Andrew's really good at is is he's such a fan.
24:22
So, he loves how Ronnie would play his guitar.
24:24
But you're But you're a creative person.
24:26
You're always looking for new ways to play the guitar. >> surprising him.
24:31
>> Yeah, I was going to say.
24:31
So, how do you take the direction of a producer that wants that Ronnie Wood magic, but also know that it's like, well, I can do that, but I want to try this.
24:41
>> Oh, he's He knows I'm up for that because I always love a challenge. >> Yeah, yeah, yeah.
24:46
>> You know, when I first joined the Jeff Beck Group, you know, Jeff said, "Would you mind not playing guitar, Ronnie, and playing bass?" >> I went >> Okay. >> It's crazy.
24:52
And real fans know that, but um you're You're bass player.
24:54
You played bass on In the Stars on this record as well, I think. Is that right? >> Yeah.
24:59
>> What do you love about playing bass?
24:59
I know that fans of Ronnie Wood the guitar player are like, you had time with Ronnie Wood and you asked him about the bass.
25:05
But I really I really want to know what you love about >> That's where I come from.
25:08
You know, like I started on guitar, but then I went back to the basics and going to the rhythm section with different drummers like Mickey Waller and Aynsley Dunbar and lots of other drummers, you know, coming up through to eventually went through Kenney Jones, you know, and then to Charlie and now Steve Jordan and I have a bass style that fits back in the old Larry Graham days, you know.
25:39
We used to hang out in LA back in the Sly and Family Stone days and uh we used to funk it out, you know.
25:47
And and even a a a jazz player that I had in the New Barbarians, Stanley Clarke. >> Yeah, amazing.
25:54
>> He said to me, you know, he was a devout jazz player.
25:57
And he said, "Man, you taught me how to play the blues and rock and roll on the bass." And and I had no idea.
26:06
I was just being me, you know, I play it the way I play. >> Yeah.
26:09
>> Anyway, it's a great groundwork and a great angle to look on the guitar when I went back on guitar again.
26:16
I was influenced by Duane Allman and I went straight onto the slide. >> Yeah.
26:22
>> As a bassist, something I always fall back on is um my slide playing.
26:28
>> You brought such a unique new element to the Stones when you joined the band because everything you just beautifully laid out, your style, your way of playing, created a new feel for the band. >> Yeah.
26:39
>> How long did it take you to feel like what you were bringing to the Stones had had really landed?
26:43
Cuz I know you did some recordings for them before you actually joined the band and and whenever it was, '76 I think officially, '75.
26:49
>> Yeah, but yeah, when I made my first album in '73, >> Yeah.
26:54
>> Mick Taylor and Keith were there throughout, and Mick Taylor. >> Yeah.
26:57
>> And Mick and I go right back to our first band when he was in the Gods. >> Yeah.
27:02
>> And I was in a band called the the Birds.
27:04
And um he used to be too nervous to even go on.
27:09
I had used to have to go and play his parts for him. >> Crazy.
27:12
>> And like when I knew he was joining the Stones, I thought, "Oh, well, you know, that guy, he plays so melodically and so wonderfully.
27:20
I'm really pleased he's got that gig, you know."
27:23
And um I still miss Mick Taylor at at the moment, you know.
27:28
But I I grew up knowing what the Stones were playing by being a fan and being a schoolboy, you know.
27:35
And um I knew what Brian was contributing to towards Keith and the way they played.
27:43
And then I could keep that going when I joined.
27:47
Um bearing in mind what Mick Taylor had put in as well.
27:50
So, I was fan of every one of them and I could pay tribute and take it my own way, too.
28:00
>> I've heard that from a quite a few players who join bands that they're a fan of, and in particular a fan of the player that they're taking the place of. >> Yeah.
28:08
>> That you've got to find a way to lovingly develop your era, but you've also got to kind of be their fan when you join the band in the beginning.
28:17
You've got to you've got to pay tribute for a while. >> Hard to do. It's a natural flow.
28:19
Because if you're a fan, you're learning as best you can the favorite riffs that say Mick Taylor played. >> Yeah, yeah.
28:29
>> I would try and get at that edge or just a certain phrase.
28:33
And I could do anything around it as long as I came back to that phrase, >> Yeah, yeah.
28:37
>> at the identity of that song, you know, whatever it may be.
28:41
>> Such intuitive playing, man. So much empathy.
28:42
It's not just kind to the player, Mick, or to or to your future, but to the fans.
28:47
It's allowing us to be able to assimilate to this new feeling that you're bringing to the band in a really loving way. >> That's great, man.
28:54
Yeah, it's a real honor that you picked up on it, you know.
28:58
>> You know, when we go through this album and I listen to you and Ronnie, just getting back to the chemistry of guitar playing, you know, it's really evident the way that you weave in between each other and you know, we've spoken about your music.
29:07
I've never spoken to you in the context of the Stones and what it is to be standing opposite Ronnie and your tunings and know that there's a pocket waiting for you two, you know.
29:16
>> Yeah, Ronnie Ronnie and I have fallen to playing together.
29:19
I started playing with Ronnie in the '70s.
29:25
When he when he was doing a a solo album and I had nowhere to sleep and so I I wormed my way in and I spent about 6 months with Ronnie at his house and that's where we started a whole new thing, you know, cuz we looked at each other and listened to each other and said, "You know, if you hadn't have played that, I would have."
29:49
>> [laughter] >> So, yeah, Ronnie's a comfortable comfortable file that's to play with, you know, and uh you know, bless his heart, you know.
30:01
>> Steve Cropper sussed that out.
30:01
He said, "My favorite interplay with you and Keith is piece of burden, you know, where the guitars are playing off each other."
30:09
And that was just a natural thing.
30:11
It was an unspoken rule where one laid back, the other one came forward and then vice versa and then we come together forward and yeah, the light and shade and interplay is so good.
30:25
>> So, when you're writing the songs, it's it's just a case of like figuring it out in real time as you as you're doing, like who's going to do what and just kind of bouncing off each other and then deciding that's the bit.
30:33
>> Yeah, when you're writing a song, there's some some bits where you start together and then he'll naturally take the riff his way and I'll naturally embroider my way, you know, and then come together again and then go apart, but they're still working as a team, you know. >> Yeah.
30:52
I'm sure so many people have tried to talk to you about what they love about your guitar playing.
30:57
Um but I'd love to know what you hear when Keith plays. What do you hear?
31:02
Not what I hear anybody else, but what is it that you love about Keith's playing and what's unique about it?
31:09
>> Uh well, he's predictable to me because once that riff starts of whatever song it might be, he's going to stick pretty much to it.
31:18
Just play a little around it.
31:18
But he he you know, he says he's the cake and I'm the icing, you know? >> Yeah.
31:26
>> And um you know, I decorate, you know, pretty well on his basis.
31:31
>> So let's talk about the the the process of bringing a song to the band and and what it's like when you say, "Hey, look, I've got something."
31:36
And even after all these years, I really want to I really want you to play a part of this. >> Yeah.
31:42
>> What are the challenges and also the joys of doing that as unique to the Stones?
31:46
>> you First of all, I do demos of them.
31:46
So I miss the charm of the demo.
31:48
So I know this will work, you know, I mean, might not like it, but this does work like this.
31:55
It works four on the floor.
31:57
>> You had gentle house beat on your drum machine.
31:59
>> Yeah, I know the house beat. >> Right. >> And and yeah. A party house, yeah.
32:03
No, but so So I worked that up with with Matt [clears throat] Clifford. >> Yeah.
32:07
>> Um and then when I played these songs to Keith in New York, I didn't actually play in the demos.
32:12
Keith and I didn't hear in the demos, but it makes my life much more difficult. Yeah, yeah.
32:15
Steve likes listening to demos.
32:17
So Steve is like I I play a demo to Steve and he gets it and he'll tell me, "Oh, that's that's really a good beat, but I can do this on it."
32:25
And then I spend time with Steve on my own.
32:27
So I just go through it with him just vocally or just with me and playing guitar with with Steve and say, "This This the groove, you know, like is this like too fast?
32:37
The whole thing about all this music is the the grooves have to be perfect. What does that mean?
32:44
Well, it's not just how fast they are and how slow they are.
32:46
It's Each song has a groove that uh that sways around and and the drums and the bass have to work together and the rhythm guitars have to work and the vocals have to go with the drums perfectly. So, in a song like Mr.
33:03
Charmer, so it's almost like half semi-rap kind of, you know, the verses are fast.
33:08
I mean that all has to go with what Steve's playing.
33:14
So, so it has to fit in with his high-hat pattern.
33:18
>> Yeah, cuz every groove's a relationship.
33:19
>> Yeah, so it's not just one thing. It's not just the drums.
33:21
It's the way the drums fit with the verse, with the vocals and obviously guitars.
33:24
But the guitars can slide over that.
33:27
So, they are in another place in the groove.
33:32
>> And it gives Keith that freedom to be Keith.
33:34
>> Keith did this play and he made that really nice lick up which I didn't have in the demo. So, he added that.
33:38
So, that ba da da da da da la la.
33:40
So, that goes over all that groove stuff which has already been established.
33:48
Then you've got the vocal over that and then so all of that makes that a groove. And so Mr.
33:53
Charmer becomes a groove song. >> It's good.
33:55
It's self-facing in the sense that you know, I feel like you're poking fun at yourself a bit but you're definitely kicking capitalism down the road a little bit.
34:00
There's a There's a nice suite of three songs in a row that I feel do that. You know, Mr.
34:03
Charmer, Blind Intervention, Ring Hollow.
34:04
I want to talk about specifically cuz that's a wild song.
34:07
Um but this idea of like um being at this point in your life and taking a look outside and the Stones have always reflected the world.
34:12
You've always been a wide-open band when it comes to socio-political situations. >> issues.
34:18
The thing about addressing social issues is that well, first of all, it's hard to do because because the social issue you address in 3 months might have disappeared completely from everyone's imagination and no one cares is it anymore.
34:30
Um and so you're just irrelevant you're making songs about irrelevant things. >> That's fair.
34:35
>> And people don't really preach that, but you can throw these things in.
34:37
So, I just throw them in even in a Rough and Tumbled you think, well, it's about a woman and what kind of is it?
34:43
And then you just throw these social comment lines in there.
34:47
But of course, Ring Hollow which you mentioned and in Divine Intervention obviously, that's a kind of like dystopian song. >> Pretty on the nose.
34:55
I mean, the last 60 seconds of Divine Intervention before you can talk about the lyrics is as a arrangement and musicality and performance goes highly emotional.
35:01
I mean, everyone is driving and striving to get to the top of the mountain to see what the view looks like.
35:06
And to get up there it's like, you know, here's some bad here and some bad here.
35:13
What was it like to create that moment and to achieve that sense of like emotional euphoria? >> recording you mean?
35:18
>> Yeah, and through sadness and through trauma.
35:21
>> That song was like has this build, you know, so that and it's in really in two parts with the verse is very different with the chorus.
35:26
It was a rock country verse originally.
35:28
Keith made it more rock, you know, which is fine.
35:31
I think that makes it better, you know?
35:32
And it could have gone either way.
35:35
But then you go into the chorus which is much more of an indie sound with a build as you say it's emotionally building and then you hit the high note and then that helps build that emotion and then it's got lots of dystopian lines.
35:49
It means it's a dystopian song.
35:52
>> It's a dystopian song and I think you really close it out that little mini chapter of the album with Ring Hollow.
35:56
I mean, you begin and it's almost like you're talking about past loves. Is this about Mary Ann? Is this about Jerry? Who's this about? What's this about?
36:03
I know it's about America, right? >> America.
36:07
It's a love song to America, so but you know, it's a it's a bit of a Yeah, it's a you're you're kind of cheating the audience by making them think it's about a woman and then you realize by line four or maybe maybe later that that that it's not about a woman.
36:23
So, it but it is kind of because you're you're using Statue of Liberty or Liberty as a concept, you're using that as a metaphor in the song as well.
36:31
So, it's kind of what And Liberty's a woman represented as a woman in America.
36:39
>> It must be so rewarding to get to a point in your life, and I'm not talking about age and maturity, I'm talking about success and achievement, and still feel like there's a ringing hollow waiting for you find, which is >> Yeah.
36:50
>> you're making a pretty important statement about a country that promises a lot, and it meant you a lot.
36:55
>> yes, give me a lot, and it's it's admiration, but it's also like seeing the faults and the problems that we're going through in this country.
37:00
And so, that I was addressing that, and I had several songs that were addressing that theme, and I I chose this one because it was the more it wasn't quite as on the nose as the others, and it had more subtlety, I thought, and so I discarded the other ones.
37:15
>> Are there moments when you finish these songs, you play them to the boys, and they're like, you know, yeah, Mick, that's >> Yeah, I played this to Keith, and Keith liked this one straight away.
37:21
He's he could see this, you know, and also um it was a different style of music going from the rock stuff and the four-on-the-floor groove tunes going to a more country using country styles to express this song about America is probably the best way to go, because it could have been a rock song.
37:40
>> Our Ringing Hollow is it's in a way a very tender sort of love song to America, and what the went wrong in our >> [laughter] >> and um but and I remember being in the '50s, and uh you know, I remember the jukebox and the cigarettes.
37:58
We used to admire America so much, you know, and uh I mean, the idea of having radio stations all across the board instead of just the BBC was uh was already I'll die and go to heaven just to have that.
38:14
And and there was there was so much we admired about America, and then, of course, close up, there's a few cracks in the bell, and uh and uh they might as well write about that, too.
38:25
Yeah, he did a great job on that.
38:28
>> I love hearing you sing.
38:28
I love hearing you sing with the Stones, and you know, you do on some of us, which is great.
38:33
And just kind of hearing yourself in the context of this Stones record, what was that day like when you when you cut that with Andrew and everybody in the in the room?
38:41
>> That song is I'd been hanging around in the head for for years and years, and I I never quite got around to putting the finger on it.
38:49
And uh I mean, some songs are very elusive, you know?
38:55
I mean, I remember "Start Me Up" was 10 years before from the writing of it to when it came out.
39:02
That is um I don't know, it's like wine, you know?
39:06
Like good wine, you know?
39:06
Some of it's better, you know, aged, you know?
39:11
I I remember I remember the first hundred takes were were reggae rhythm, you know?
39:17
So You know, it went through a lot of styles before we said, "Hey, why don't we just play rock and roll?"
39:27
And that's the one that made it.
39:29
>> Paul McCartney, two-time offender now on Rolling Stones records.
39:34
Uh you know, this is this is just a beautiful time, I think, to be a music fan and to know that the door's open in multiple directions for everybody to come together and work together.
39:41
Um what does that mean to you personally, from Hackney Diamonds to now, to know that you've got the shorthand with Paul on on Stones records?
39:49
It obviously means a lot to him. He said as much to me.
39:52
>> Well, yeah, you know, I realized that Paul really misses being in a band, you know?
39:59
His joy of just being in the in that context is great.
40:02
So, if there's got any more songs to do, >> [laughter] >> I'll let you know, Paul.
40:07
You know, but sure, yeah, he's I've known Paul for you know, as well, basically since the Beatles started, you know, since we started.
40:16
but I mean only on the on the periphery and they did a couple of John and Paul did a couple of backup vocals for us and way back when and we love you and uh Dandelion, I think, way back in like '67 or something like that, but uh otherwise and I don't know it's always great to have somebody from your own uh era from you. Uh way back when.
40:47
But to play and a lovely player and uh yeah, I'd like to do more with them. Yeah.
40:55
>> When you're in the studio and he's playing, I mean it's just like you've been so used to playing with with your friends and this everyone's got such a unique style. >> Yeah.
41:01
>> it feel when he fires up and it's his style? It's pure McCartney.
41:03
It could only be McCartney playing that way. >> Yeah, I don't know.
41:06
On "Come On In You", sounds like a funk bass player.
41:07
I wouldn't I wouldn't recognize his style. >> Yeah. >> On that, honestly. >> Yeah.
41:13
>> Um and I didn't know he could play like punk style, like real simple stuff like we wanted him to play.
41:18
He mean just understood the style, you know?
41:20
And so he's obviously got a lot of capacity to change gears. >> Yeah.
41:27
>> How did Robert Smith end up being on the record?
41:29
>> I think he's a friend of Andy's. >> Yeah.
41:31
>> And he just turned up one day. >> Yeah.
41:33
>> He I think Andy invited him to come and listen cuz we're at the end of making the record. >> Yeah.
41:37
>> And and he I went in there and I never met him before.
41:40
I don't know how but I never met him.
41:40
So then So he's very nice and everything.
41:45
And so we said, "Oh, let's go go and sing background vocals on uh Lose You." >> Yeah.
41:51
>> He so and he he has this nice part on on that.
41:54
So he sang some background vocals in between the choruses.
41:57
>> I asked Mike McCready from Pearl Jam what it feels like when you arrive in a solo that is is past the cognitive.
42:03
It it's pure heart and pure soul.
42:09
You've given us many of those.
42:09
One in particular on Back in Your Life, I feel is that solo. Um >> Yeah. >> Thanks, man. >> I love that solo.
42:18
>> thing I did in the studio.
42:18
And it was a 9-minute solo.
42:20
Andrew Watt was in tears when I went into the control room.
42:22
He went, "What are you doing?"
42:25
He had to cut it down to 4 or 5 minutes, but it took a lot It took me over.
42:29
I had no control over it. It was just coming out. I had nothing planned.
42:33
It just It played for me, you know, the guitar. It was fantastic.
42:40
>> Andrew told me that that that you that you recorded that solo on the day Brian Wilson died. >> Yeah.
42:44
I was very emotional that day. We both were.
42:50
Um I'm supposed to be trying to get a message across to him, you know, as well as just within my playing, you know, the the feeling. It was It's tremendous.
43:02
>> What's your affections of making that song because it's it's a classic?
43:05
>> It was written by Keith, myself, and Andy.
43:09
And because we wanted a ballad, you know, and Andy's always pushing for this this this ballad.
43:12
We must have a great ballad.
43:14
And then we came up with this.
43:15
And then I just come up with these lyrics like really quickly, you know, but it's a classic story uh of meeting a woman and then you have a very quick fling with her and then she ghosts you.
43:30
>> [laughter] >> So, right. So, that's the story.
43:32
So, that's my That was my So, okay, that's it.
43:36
>> And you're speaking from experience? >> No. Well, obviously.
43:37
But, I mean >> Someone asked me the >> discussed the other day and I said, "Well, at your age, you know, like I I've got memories as you know, I can draw on." >> It's less bad.
43:46
It's more like, "Who the is ghosting Mick Jagger?" >> Uh happens. >> Okay.
43:52
>> [laughter] >> But, nevertheless, I mean that was my I mean that is a classic kind of theme, though, you know, so and have to write it.
44:00
Now, I spent quite a lot of time getting that right, you know, because in ballads you can't get away with >> Yeah.
44:07
>> You know, like you get away with things on Mr.
44:09
Charm that maybe don't always completely make sense.
44:11
Whereas in a ballad like that you it's got to be in a shape the shape of it has to be right lyrically and it has to obviously then and the music has to be right and then it has to have a build, you know, you have to set the scene all that.
44:28
So that that that's quite a lot of lyrical work and then singing it is quite a challenge really as well because it starts tenderly and then you have to build it, you know.
44:40
>> Side effects is one of yours, right?
44:41
>> Side effects, yeah, yeah, yeah.
44:44
>> I was really blown away by how honest you are in the writing on that song and how you really leaning into what is widely become known as the myth of rock and roll, but you know, you you're putting a new a different perspective on it at least to me.
44:57
>> Oh, well, that thank you very much.
44:59
Yeah, interesting thing because the time when I first writing it I I realized that in America you're there's ads for drugs on TV, you know, and that was is not really nowhere else in the world do you get this.
45:16
You know, and and it all and the biggest thing that stands out and all these ads is side effects.
45:23
So I started it from there, you know, and and I'm probably suffering from them now, you know.
45:29
>> [laughter] >> I want to talk about the video for In the Stars.
45:32
It doesn't surprise me that the Rolling Stones would find themselves at the forefront of this new unknown entity this this idea of AI technology even this far into what you've been doing.
45:45
Here's a Stones song with the the greatest deep fake in music video history.
45:49
What did you think of it when you saw it cuz it's it's really what you think that >> I thought I was pretty good looking considering it's a new video and then of course I realized it's AI.
46:02
I really am, you know, like this about AI.
46:04
I really don't know enough about it to talk about it.
46:08
I mean, as like as with anything else like that social media.
46:13
It has its uses but boy it can have its downs, you know, and I'm sure we'll find out more about that as it goes on.
46:22
But you know, it's it's an adventure in the making and then we'll see what happens with it.
46:29
>> You were one of the first rock bands of your time to sort of say, "You know what?
46:35
You built it, we will come."
46:38
>> [laughter] >> You built these stadiums, we will come. We will fill them.
46:41
We will invent this new thing and you were breaking new ground.
46:46
Someone told me that you were the first band to ever hang speakers in a stadium.
46:49
I don't know if you know that.
46:51
>> I I do remember playing with no speakers at all and as strange as but there was no such thing as PAs and sound systems when we started.
47:00
You You got your amplifier and and a microphone and that was it.
47:09
I mean >> Was that Hyde Park as well when you came out?
47:11
Was it just your amps on the stage when there was 200,000 people at Hyde Park that I think it was, wasn't it?
47:16
>> Yeah, so I think I just a speaker a couple of speakers for the vocal and that was it then, you know.
47:24
>> [laughter] >> It's hard to believe now, are you hearing everything okay out there?
47:30
>> You joined the band literally on the eve of the invention of stadium rock.
47:33
I mean, you were the first band to ever go into open-air stadiums like that, the places where they play football games and baseball games and and that must have just been overwhelming. I can only imagine.
47:44
>> I just took it in my stride because I thought that's what they did all the time.
47:47
Another stadium and the first major show I did with them on the tour of the Americas that the Totos tour.
47:57
Yeah, it was my birthday, June 1st. 1975, yeah.
48:04
But the the first gig was the one down 5th Avenue here.
48:06
We played and Brown Sugar. Crazy. Crazy.
48:10
Billy Preston was with us then. I I love Billy.
48:15
>> This is an album made to play live, too, Ronnie. You know that.
48:17
I mean, it it's live live in the room.
48:19
It's jumping out of the speakers.
48:23
I mean, just speaking personally, not for the band, but what's your appetite to go and play these songs in concert or tour and whatnot? >> Oh, yeah.
48:30
Yeah, don't have to twist my arm, mate.
48:33
I'll be out there as soon as I get my call-up papers, you know?
48:37
>> Will you go on the road? >> If you can?
48:38
>> Yeah, I would love to, yeah.
48:40
>> Next year is wide open, you know?
48:40
So, [clears throat] I mean, it is is up for grabs, really, you know?
48:45
>> For you, what's been the secret of of keeping this band together longer than any other contemporary rock and roll band?
48:50
It's the longest-running relationship in music history.
48:53
>> Well, we don't over soak uh hanging out, you know?
48:56
We live in our own lives, and when we do get back together, it's like no time has gone by.
49:01
So, we're back in the playground like naughty schoolboys.
49:05
We're back in the studio. That's what we do.
49:07
We love to interact, as you know.
49:09
You can You can tell from the music, you know, off of each other. >> Yeah.
49:15
>> Mick is very still very driving, you know, to this day.
49:19
>> And at the core of that is this friendship with you and Mick. >> Yeah.
49:24
>> And zeroing in on the music side of it, you know, if you think about like marriages don't last half as long as that.
49:32
So, when you think about you and Mick and and what and what has really kept you together through all the good times and the tough times, does it boil down to the music?
49:40
>> Yeah, it is a mar- a marriage of a of a kind, yeah.
49:42
Whose wifey and whose husband is another thing.
49:46
But uh maybe that's what keeps it going, you know?
49:51
But um when when you meet the guy that has the same taste in music and the the same feel for it as that you do, it's more than double the pleasure.
49:59
It's It's I don't know, you can't put your finger on it, but uh and at the same time it is a mystery.
50:07
And uh and me I think maybe long may it be a mystery.
50:10
I mean, I I I've trying to I think about it and figure it out and is I found pointless.
50:18
>> I think if the Rolling Stones had a lot of failure, wouldn't have stayed together.
50:22
We've been very lucky and been successful you know, even though not everything we've put out recorded by us has been brilliant.
50:30
>> But that doesn't speak to the interpersonal relationships.
50:32
>> No, with the interpersonal relationships are much more difficult and we've obviously had problems.
50:35
But lots of arguments with Keith uh and he's had obviously lots of arguments with me.
50:42
And not everyone's easy to get on with, you know, and and and it's hard to do.
50:47
to do. But I mean, we've been very successful and we haven't been living in each other's pockets, you know, like we like when you start off you're kind of all like a little gang together and you and you can see you know,
50:59
you know, you see it indie bands record cover and they're all like, you know, having a beer together in a you're always together and you're always like eating together, drinking together and you you know and we just started to live a quite a long way apart. Keith moved to America, you know,
51:14
Keith moved to America, you know, I was living in Europe most of the time.
51:19
Ronnie was living in England.
51:21
Um, Charlie was living in but but he was living in the country so we didn't to see Charlie very much.
51:25
We didn't come up to London very much.
51:27
Not a very social person.
51:29
But in a way maybe that works for you because you don't have you're not on top of each other.
51:33
You just come together when you work and and when you come together and work it's just it feels like you you know, just like you know each other and you have known each other forever and there's no gap between that.
51:45
>> That's what comes across when you see you see the footage of you playing.
51:46
It's got the sense of like getting this enjoy of like I can't believe we get we getting away with this.
51:53
>> [laughter] >> You know, um, is this does this continue this >> I mean I don't think you can continue forever.
51:59
I mean it's not possible.
52:01
>> I guess the question that goes do you go into the recording of foreign tongues and do you think this may be our last record?
52:05
>> Yeah, you could think that.
52:05
I think you you always think that.
52:09
You know, this could be the last record.
52:11
I'm not saying it is, but I mean you I thought Hackney Diamonds was probably our last record, you know.
52:15
And then we we we weren't scheduled to make this record.
52:18
We were going to go on the road and then we didn't go on the road and then we said, "Okay, we'll make a record."
52:22
And you know, there you go. >> Thank god you did.
52:25
>> And and um, so that time instead of it being, you know, a fallow time was filled with doing this.
52:32
>> How do you feel about the future of the of the of the Stones having made a record like this fresh from making this record?
52:37
>> Yeah, well, we know we still got that drive from Hackney Diamonds and foreign tongues.
52:42
The albums are getting more and more energetic, punchy, and we're still raising the bar.
52:48
That's the evolution of the band, you know.
52:51
It's got that new youth and the new kick, you know, in it.
52:55
Um, maybe Charlie's, you know, over overlooking us and giving us some more inspiration.
53:05
>> With this album being fresh in your mind, how do you feel about spending time making another Stones record?
53:10
>> Oh, I have no problem with that anytime.
53:13
Anytime the whistle blows, um, I'm I'm there. I'm up for it.
53:16
Um, always got a few songs in the in the bag and um, I'm sure Mick does. He never stops.
53:25
And so, I mean making that's what I do, you know.
53:30
So, you're automatically thinking about what you're going to do next.
53:32
And so, it it's sort of there in the in the making, you know.
53:38
>> What do you put it down to, you know, this the the longevity of of of the stones.
53:42
If you could, you've outlasted everyone.
53:45
>> Healthy living and uh you know, and going to bed early.
53:51
Yeah, there's no there's nothing like it.
53:53
That's that's the formula. Be a good boy. >> [laughter]