It had the opposite effect on Marianne Faithfull. It made her into a star with “As Tears Go By”—the title changed by Andrew Oldham from the Casablanca song “As Time Goes By”—written on a twelve-string guitar. We thought, what a terrible piece of tripe. We came out and played it to Andrew, and he said, “It’s a hit.” We actually sold this stuff, and

Galahad

to son. He is now growing oak trees and

What made us like it was when Otis Redding covered it. With that and Aretha Franklin’s version, which Jerry Wexler produced, we heard what we’d tried to write in the first place. We

Django Reinhardt’s Hot Club—that lovely swing guitar—and Bix Beiderbecke.

There is a parable on film of the changeover of power between jazz and rock and roll, in Jazz on a Summer’s Day—a hugely important film for aspiring rock musicians at the time, mostly because it featured Chuck Berry at the Newport Jazz Festival in 1958, playing “Sweet Little Sixteen.” The film had Jimmy Giuffre, Louis Armstrong, Thelonious Monk,

We ended Cliff Richard’s run of hits when he recorded our “Blue Turns to Grey”—it was one of the rare times one of his records went into the top thirty instead of the top ten. And when the Searchers did “Take It Or Leave It,” it torpedoed them as

Basically you go: Fender or Gibson? In “Satisfaction” I was imagining horns, trying to imitate their sound to put on the track later when we recorded. I’d already heard the riff in my head the way Otis Redding did it later, thinking, this is gonna be the horn line. But we didn’t have any horns, and I was only going to lay down a dub. The fuzz tone

We exist on a rhythm of seventy-two beats a minute.