and

working something out? I think that's the most constant thing I can say.

Yes, out of, you know, music is better than jail.

But, you know, you can put yourself in there and music will do for you whatever you can put into it and find out, you know.

I mean, I sit there sometimes and I have no idea.

I never sit down and say I'm going to write a song.

You know, I just pick up an instrument and play Buddy Holly or something.

But it does seem like watching just some behind-the-scenes footage of you guys working together, the joy of being in that room together and making cool songs is still there for all of you.

And you can do the things that even Keith Richards wants to do.

I think we should...

Shari, get Mick on the phone.

We're gonna do the make- We tried the makeup once, and Mick was terribly allergic to the silver paint in Rex they made, right? And his, half of his face fell off.

It looked like-

That's right.

Calling Dr.

Love.

Um, what's the best thing about being Keith Richards today?

I'm here.

[laughs] That's good for starters, you know? [laughs] I mean, it's impossible to put me into words, especially by myself.

Um, I personally feel blessed, and I'm waiting for the hammer to fall.

I've just done what I do, and luckily it got picked up.

I don't know, you know what I mean? It's a- another life, man.

Um, it's like asking anybody, you know, I mean, when would you like to die? I thought that one would get him.

I'm not qui- I mean, I've let my fitness level drop after the tour [laughs] got canceled, but, but I mean, I'm sure I can pick it up.

The creative brain behind the album cover is Nathaniel Mary Quinn.

Nat Quinn, we asked him to do a cover for us, and it was supposed to be a portrait of all three of us.

And he came back with all three of us in the same place.

So basically, we're all in there.

... and some very old friends.

It was interesting to, uh, especially to work with Stevie Winwood, who just turned up every day, [laughs] and, uh, bless his heart because I'd known Stevie since he was 15.

It

is what it is.

It's a Stones album, and they're on a roll at the moment.

Since Hackney Diamonds, they're picking up the force.

But anyway, it was great fun to make.

Andrew, what is a kick up the butt, let's put it that way.

Also, Nick was coming out with a lot of material.

england had little stevie winwood america had little stevie wonder i enjoyed having him around for as many tracks as possible

Keith Richards.

All I'm saying is that when I started recording in 1962, there was a two-track.

Within two years, there was four-track.

Uh, I mean, this is doubling your capacity, you understand? [laughs] And, and you're going, "Wow, I can put another guitar on top of that one that I put on," and, and then before you know it, it's eight-track, and then things after eight-track, this is where you need producers, and this is when you need engineers and the ...

'Cause then it gets to 16-track and 24-track.

It's beyond the musician's possibilities of being able to figure it all out, you know? And that's where great teamwork comes into work, which is, like, your, your connection with engineers, your connection with your producer, your connection with everybody around you becomes far more important.

And that's what we're working on until this day.

That was awesome.

... and contributing to the process must have been really special for you to see.

see.Yeah, it felt, it felt good to me to get the sort of this, this, uh, generation of the Stones, uh, on record, you know? It was, um, uh, it was kinda special.

And, uh, as I say, they were playing so good.

I, I coulda gone on for another month, you know what I mean? It was Charlie Watts that, uh, did, uh, uh, suggest to me that if ever I was gonna work with another drummer it should be Steve Jordan.

And, uh, Steve is a great admirer of Charlie's way of playing.

He sorta grew up listening to Charlie, too.

So there was the, although despite the differences, there's an, an automatic sort of appreciation of each other and, and what they could do.

Crazy.

Gentlemen, pleased to meet you.

[Instrumental music].

Going to work and making a Stones record is a, once you actually start it, is, is a process, you know, but it was a hard month work in London, and everybody was up for it, and it's, uh, [laughs] that's what I love to see, you know.

I just see, see who falls by the wayside.

[laughs]

And there was so much respect between the two drummers.

Andrew is great fun and loves to muck in and play.

And it's been, to me, very interesting to watch how the operation has been working and how, you know, the dynamics between people.

Do you still, Keith, get the joy that you've always gotten out of making music, which is sitting in a room maybe with your acoustic guitar and working something out? You know, I think

that's the most constant thing I can say.

Yes, out of, you know, music is better than jail.

But, you know, you can put yourself in there and music will do for you whatever you can put into it and find out.

I mean, I sit there sometimes and I have no idea.

I never sit down and say I'm going to write a song.

I just pick up an instrument and play Buddy Holly or something.

it is

Do you still, Keith, get the joy that you've always gotten out of making music, which is sitting in a room maybe with your acoustic guitar and working something out? You know,

I think that's the most constant thing I can say yes out of.

You know, yeah, music is...

It's better than jail.

But, you know, you can put yourself in there and music will do for you whatever you can put into it and find out.

I mean, I sit there sometimes and I have no idea.

I never sit down and say I'm going to write a song.

But it does seem like watching just some behind-the-scenes footage of you guys working together, the joy of being in that room together and making cool songs is still there for all of you.

So know that you can

still raise the bar and learn.

So it's kind of all of this jigsaw puzzle sort of thing, like it is when making anything.

And it slowly falls into place.

It kind of demands itself.

All of the terrible and errant mistakes and holes and gaps make themselves obvious.

And they've got to be filled.

What I was