“I Wanna Be Your Man.” They played it through with us. Brian put on some nice slide guitar; we turned it into an unmistakably Stones rather than Beatles song. It was clear that we had a hit almost before they’d left the studio.

Jimmy produced Beggars Banquet, Let It Bleed, Sticky Fingers—every Stones record through Goats Head Soup in 1973, the backbone stuff. But the best thing we ever did with Jimmy Miller was “Jumpin’ Jack Flash.” That song and “Street Fighting Man” came out of the very first sessions with Jimmy at Olympic Studios for what would become Beggars Banquet,

You can’t say apart from “Sympathy” or “Street Fighting Man” that there’s rock and roll on Beggars Banquet at all. “Stray Cat” is a bit of funk, but the rest of them are folk songs. We were incapable of writing to order, to say, we need a rock-and-roll track.

That’s why Denmark became a haven for so many jazz players in the ’50s.

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

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

The beauty, the majesty of the five-string open G tuning for an electric guitar is that you’ve only got three notes—the other two are repetitions of each other an octave apart. It’s tuned GDGBD. Certain strings run through the whole song, so you get a drone going all the time, and because it’s electric they reverberate. Only three notes, but becaus

Little Richard’s stage presentation was outrageous, and brilliant. You never knew which way he was going to arrive. He had the band thumping out “Lucille” for almost ten minutes, which is a long time to keep that riff going.

Hallsands, which had fallen into the sea,