Mick Jagger (Full Episode) | Conan O'Brien Needs A Friend

[music] Hi, I'm Mick Jagger and um I'm. feeling rather anxious about being Conan. O'Brien's friend. >> You feel anxious? >> Yeah, >> you feel it's a heavy thing. >> It is. And we're in an enclosed very. small space together. [laughter]. [music]. >> Hey there. Welcome to Conan O'Brien. Needs a Friend. Um, I'm not with the.

gang today. No Sona, no Gorly, no Blle, no Eduardo. I'm pretty much on my own. Why, you ask? Because I got a phone. call, oh, just a couple of days ago, and. I'm in Los Angeles. And the question was, would you like to. come to London to interview one of the. most famous people in the world? And I.

really thought about it. It was a tough. call because I have my Pilates class. I. take a Lama's class even though I don't. know anyone who's pregnant. I just go. there and I've been asked to leave. I. have my yogurt regimen. But I said, "No, I'm going to do it. I'm gonna do it. because this is the thrill of a. lifetime. So, I jumped on a plane and I. am now in London in a very small podcast.

studio that's off an alley. And. I'm excited because I'm talking to. just. a phenomenal force in my life and I. think in many people's lifetime. And. this is bucket list for me. Now I'm. going to reveal who it is. Now if Gory. were here or Sona they'd laugh and say. no it's the episode is marked with the.

person's name. People already know. you're being stupid. But I'm. old-fashioned and so I'm going to. pretend you don't know who I'm talking. about. My guest today is a rock and roll. legend and cultural icon who has spent. six decades as the frontman of one of. the greatest rock bands of all time, The. Rolling Stones. Their new album, Foreign. Tongues, is out now. Um, I love this.

album and I think you have to check it. out. It's amazing. This guy's amazing. I'm absolutely honored that he is. joining me today. MC Jagger, welcome. [music]. >> It's so suspicious. I drove here today. I didn't know where we were going. We. get to this alley and then we walk in a. door and I thought it was a drug deal. >> It looks like that. >> Yeah. And then they um they said, "Yeah,

this is where you're going to meet uh. Mik. Uh you guys are going to talk." And. I just was uh stunned. >> The good thing though is we have met. before. So, if we'd never met before, this would be very odd. >> Very odd. Well, let's talk about that. because a couple of weeks ago, >> uh, I was traveling around the world. shooting my travel show and I heard you. were going to get a phone call from Mick. Jagger. >> Now, we had met briefly backstage at the. Oscars, but we didn't really know each. other. >> The next thing I know, you're calling me.

and we're having a chat about this event. you asked me to do in uh in Brooklyn to. help launch. It's the press launch of. the new album, Foreign Tongues. And it. was a great day for me cuz I'm a massive. fan. Of course, I said yes. I asked for. money. They said there's no money. >> They said there's no money. That's. >> There was nothing. There was no money. >> That's terrible. >> Yeah. And I said, I'm just And. >> I do apologize for that. [laughter] I. thought they were paying you hundreds of. thousands for doing this.

>> I was like Chuck Barry. I wanted. $100,000 in a briefcase before I went. on. It was a fantastic experience. And I. got to be with you, Keith. Ronnie. >> Yes. >> Now, uh I don't think I had met Ronnie. before. He's a lovely guy. >> Yes, he is. >> Tells a lot of very bad jokes. >> Terrible jokes. The only worst joke. teller is Bill Wyman, but who's not in. the band anymore, but he could be. co-opted to tell his terrible jokes. versus Ronny. Ronny versus Bill. Their. terrible jokes.

>> Just awful. Uh but we had a lovely time. And I had some observations about that. day, which is leading up to it, you and. I had several phone calls and you were. really going over all the details. And. then when we got to the event at one. point, you were looking out at the. audience to check them. And I looked. back at Keith and I said, "Was this Mick. in 1962?" And he said, "Yes." And this I. get the sense that in a way you've.

always been the organizer, the manager, the guy who's keeping it together. Is. that a fair thing to say? I guess so. I. mean, sometimes I was called a control. freak, but that I'm not a control freak. at all. I like to delegate. You know, the. >> the the thing about doing this kind of. thing is you you you delegate these big. jobs. You know, I never organized that. thing that we did. Not really. >> But what did I do? I approved the place. You know, I thought that you would be a.

great person to do it. >> And were you disappointed? >> I was so happy. It went off really well. You were very funny. You hand you handle. Keith's microphone technique perfectly. [laughter]. >> I I was worried the minute they gave you. guys handheld microphones. >> at this event in in Brooklyn. >> You think, well, that can get dodgy. >> Yeah. And then Keith did a thing where. the microphone was by his mouth and when. I'd ask him a question, he would start. to answer and the he would h the the the. microphone would drift away from his. mouth until the point where I was. >> He's still holding it. This is not.

drifting away in the air on its own. >> No, no, no. He's holding it, but it's. drifting. His arm is drifting away from. his body. But we got a laugh out of it. It was fun. Uh he was lovely. But I I. did get the sense that not that I didn't. see control freak when I saw you, but I. saw someone who is very interested in. the details. >> Yeah. Some I mean this looking through. to see well, you know, I'd seen the room. empty, but you you've got to see the. room full. You know, what's what kind of.

people are there? What you know, how. many people are there? What are they. what does the room feel like? I think. that's important. I'm sure you if you. when you go on and do things with a live. audience, you know, >> uh you you want to feel the room, you. know, a little bit you do want to feel. the room because. >> how your behavior would be, you know, how how the audience is going to react. I mean, so I think all that sort of. stuff's really important. >> What surprised me very first time I met. you, you mentioned the Oscars. I don't.

know if you remember, but you came up. behind me and I'm looking at my notes. What do I have to do next? We're halfway. through the show and I feel someone. jabbing me in the back saying, "How's. the crowd? How's the crowd? How's the. crowd?" in kind of a funny American. accent. How's the crowd? How's the. crowd? And I turn around, it's you. And. I said, >> "Mick, you don't care how the crowd is. You're Mick Jagger." And you said, "Oh, I do." Yeah. >> Because anyone else in the world who's. not you would say, "What's he worried. about?". >> People are delighted to see you. You're. this. >> Yeah. You're not worried about it, but.

you want information because you're only. on that. You're on the whole show. Good. luck. Good luck with that. I mean, you. know, that's a difficult job. And and. and you have to roll with the punches. and there's all kinds of weird things. happening at the Oscars. People jump on. stage and punch people, you know. Who. knows [laughter] who knows what's going. to happen, you know? I mean, and you're. I'm I'm a presenter, you know, which is. the lowest category of people appearing. on the Oscars. And uh usually they read.

something off the teleprompter which is. just not funny and it and it's not. interesting and they're obviously. reading it and. >> and then there you know it just isn't. So I just rewrote all the stuff they. asked me to say. >> but and and made I wanted to make it. into something it was my words organic. to you. >> Yeah. It's personal to me. You know the. good thing about it was I'd done a. rehearsal. So you walk onto the stage. and they hit the weird also weird. They. have the very famous people in carbal.

cutouts. You remember that in the. rehearsal? Yes. So there's the Timothy. Sha cutout. He's just in front of you. So I was going to make a Bob Dylan. reference. So I knew I knew that he was. there because he's I'm staring at the. car cut [laughter] out of him. Scarlett. Johansson's there. Whatever. Whatever. Whatever. >> So So that it was good to do the. rehearsal which was about 5 minutes. Yeah. Then I shared what was not a. dressing room, was an office, didn't. have any dressing room things with um.

Neil Young. >> Yeah. >> Who who was who wasn't on the show. And. then. >> he just hangs out in dressing rooms. >> And I said, "Yeah, just hanging out.". And I going, "That's Neil Young over in. this office." Hi Neil. And I realized. Daryl Hannah was also a presenter. >> Yeah. Oh, there you go. There you go. >> That was the deal. And so Daryl Hannah, Neil Young and I shared an office. you've achieved this. level that's uh hard to comprehend. where I would think uh you can be very. much in control of what you want to do.

and how you want to do it. Whenever I. see footage of the early stone shows. when you've really guys have hit and. you're in Denmark, you're trying to. perform, kids are running up on stage and you're. singing and people are jumping on your. back. Yeah. >> Girls are jumping on you and so half of. your time is spent. >> getting out of a headlock. >> Yeah. >> By singing. >> Yeah. While singing. >> and dancing. >> And dancing. >> all at the same time. >> Yeah.

>> Those are the days. >> Do you [laughter]. do those moments occur to you now? Every. now and then you because things are so. locked down now in a great way. >> Yeah. >> But those early days were just so. >> chaotic. There was no see the thing was. in those days there wasn't any um. organization for these concerts and and. the the organization was minimal. There. was no really security. So if there was. security it was the it was the local. police and the local police had no. experience of a concert audience. They.

probably never done it before. Yeah. And. uh in some places like we we used to. play in like the west coast in little. places and the police would come out and. there would be like 14-y old girls and. they bang them on the heads with their. nightsticks. That was their solution. [laughter] and it's like huh. >> we took care of it. >> These could be your daughters. you know, I [laughter] mean, maybe they are. bang, you know, and it was the same in. Europe, you know, I mean, they would.

just throw them, you know, out of the. door bodily. I mean, it was just. chaotic. The other thing that strikes me. which has changed so much is. not to embarrass you but the. you reach this. iconic level where if someone were to. make a short list of who are the. greatest entertainers of the 20th early. 21st century you know and I'm including. everybody. um you're and Al Jolson uh you know.

Michael Jackson you're on the very very. short list of this this iconic. performer. >> I want to see Al Jolson and Michael. Jackson as a duo [laughter]. >> Al J like. [laughter] and then moonwalks right past. him. >> Exactly. It's a good one. But, you know, you're in this uh position and. the press, I don't think people today. understand how hostile the media was.

Yeah. >> Towards all pop groups. But then. specifically, they just decided and it. was kind of a press creation. >> The Rolling Stone, they're bad. They're. punks before punks. >> They were bad. Rolling Stones bad. Dirty. Uh [snorts] Rolling Stones um you. know, scary. uh shouldn't be allowed and. yeah and but that that's just sort of. pressed stuff but people were actually. >> obviously people were really welcoming.

>> uh in in most places but there was there. was a group that were really not. welcoming but but maybe they didn't know. who even know who you were but they. would just shout names at you they. didn't know who you were [snorts]. >> that that they they would just shout. names so it was very polarized. >> in you know in a kind of modern way um. [snorts]. but you know the just the look of you. which when you look at the pictures is. pretty normal really tame now. >> very tame. >> but. >> but in those days it wasn't so it's hard.

to it's that's why it's so hard to. imagine because. >> we look pretty normal and you know and. but not for those people that's you know. especially in the US when we first went. there like say 64 in the in the outside. of New York and LA that that. That was they we were like uh freaks for. them. >> Yeah. It was also. I I was always careful in my comedy. career. A new band would come up or a.

new performer who looked strange and my. writers would say let's make fun of that. person. I would say I do not want to be. >> cuz this footage doesn't age well. No. >> If this person goes on to be iconic. >> Yeah. Um, and this is when, you know, bands were coming on my show for the. first time. There' be their first TV. experience would be a no doubt or a. green day. And I'm glad that I was. welcoming and didn't make any jokes. because they would look so stupid. Now, >> in the 1960s, >> all performers decided that these.

long-haired. >> uh freaks from England were a passing. fad. >> Yeah. They had no conception that this. was going to be the music that dominated. people's lives for the next 60 years. They didn't know. >> No one knew that. And so it was easy for. them to be to be patronizing and to make. a joke of it because it's an easy cheap. gag, you know. I mean that. >> that Dean Martin did it, you know, like.

at the famously um um Edan Ed Sullivan, >> we went on a lot. He he didn't do it. He. he but Ed Solomon didn't do anything. really. He just you know he was that was. a different kind of person but he didn't. he I I don't think Ed I think Ed. Sullivan knew that he got good ratings. because when the Beatles went on Ed. Sullivan whatever Ed Sullivan thought of. the Beatles that he got great ratings. when they went on. So he knew what. you're saying that I bet there's no. point in me making fun of them because.

who knows what's going to happen. Yeah. You know but I mean there were a lot of. exceptions. There were talk show people. say maybe local I can't remember all. their names now like Mike Wallace and. all that had they had they were willing. to have serious conversations with you. they respected you a bit more there were. others that did not and you didn't do. their shows so. >> I don't think people today understand. not that they should. >> but the environment that you guys were. in in ' 64 65 66 actually all through.

most the 60s. >> it was a hostile enir environment um. particularly in America. I'm not only. America. I mean, we can't we're not I'm. not blaming America for for being the. only there were hostile in England. There was a lot of host hostility, >> but um but but the but America was not. really ready for this stuff really. They. weren't, you know, and and and and. obviously things change. I mean it.

didn't take long when you think about it. in in years like you said ' 64 by Nick. by by ' 66 it was changed a lot you know. so two or three years it had changed. >> the thing that struck me because you're. at this point now and there are a lot of. singers or entertainers that get to this. point in their career and they get very. nostalgic and they start singing or. writing a odd about their childhood or.

looking back and what I find interesting. is you do not strike me as. a nostalgic. writer. You're very interested in what's. happening right now. I think that's a. and I say that in a very positive way. >> When I listen to Foreign Tongues, there's no really looking back. This is. music that you made for someone to. listen to in 2026 27 and there's no.

leaning on this vast history that you. have. Is that fair to say? >> Yeah. I don't really do that. I mean, I'm quite happy to talk about like we. just talked about the, you know, the. early days, the early days of going to. the United States or going to Holland or. Denmark or whatever we talked. [clears throat] about. I'm quite happy. to remember that if I can. It's hard. It's so long ago. It's hard to really. remember. But no, I mean, I'm not. drawing and in this Foreign Tongs album. lyrically. I'm not drawing on on uh on.

nostalgia. >> or I mean obviously you're drawing on. past experiences, but they might be. recent past experiences. They could be. any, but they're not referred back. And. musically speaking, every time Andy what. the producer would make a producers. always want like references. So, >> which is unab you go like this is a bit. like. >> this song you did previously. It's to. explain to the musicians the. relatability to this song. Yeah.

>> It's it's a bit this think of it a bit. like this, you know. And then that's. fine, but then and I said I said to And. yeah, but don't don't don't make. references musically. Don't There was. one track I think Mr. charm. And at the. end of it, he said, "Well, it could be a. bit more like Jumping Jack Flash at the. end." I said, "No, I just not anything. like that, and I don't want you to refer. to it." And. >> I mean, we didn't have an argument about.

I said, "Just don't make it like that. We're not going to encourage anyone to. overdub guitars like that." And so, I. didn't want any references to that, if. you know what I mean. So, so, um, I I've. heard that Paul McCartney's record. >> has some of this that you're talking. about. I I haven't yet got round to. listening to it. I apologize, Paul. I. will I will do because it's been talked. about a lot and I've heard it's very. good, but I haven't listened to it yet. >> Now, in the old days, would you have. gotten a track by the Beatles or a.

competitor right away and listen to it? Listen to that record the minute you. could. >> Yeah, probably. >> You're beyond all that now. >> Well, I mean, I just No, I'm not beyond. it. I I just keep forgetting. I've been. so busy. I just keep forgetting to. listen to it. >> Yeah. Uh, and I have been running around. doing promotion and and and I just. haven't been listening to current music. very much. >> I could sing it to you. >> Okay, I'm ready. How's it going? What's. the lead [laughter] track? What's it. called? What's it called? Do you. remember what it's called? What's the.

lead track? >> I don't remember. >> Come on. No, he's What is it? Dungeon. Alley. Dungeon. >> I've heard this. This is This I've heard. the title. >> Yeah. >> What does that refer to? I think it's a. street in Liverpool that was like an. alley that led down to So he's singing. about Liverpool. He's looking back. >> Um. >> so on Hanny Diamonds. >> on the on the track called Whole Wide. World. I did refer back. >> a little bit um to you know uh student. digs days and everything but it was a.

pretty oblique reference. >> um uh but it was there. There was two. lines about it. The World Cup is all. about what's next. The future of the. sport. The player nobody saw coming who. suddenly becomes a star. >> Hyundai, official partner of the 2026. FIFA World Cup, believes the next starts. now. Now, personally, I don't know. what's next for me. I hope that I uh. become the uh inventor of some amazing. piece of tech.

>> Oh boy. And uh yeah, it explodes and I. become this legendary tech uh CEO giant. >> Okay, >> but I'm just waiting around for that to. happen. But for Hyundai, they're not. waiting for the future to arrive. They're building it now. >> Nice. >> With innovative vehicles, advanced. technology, and by helping support the. next generation of soccer stars, or as. many people say, football. [laughter]. >> Yeah. >> From cars to robotics, they didn't come. to the 2026 FIFA World Cup to play. around. Instead, they're looking ahead,

growing, evolving. Eduardo, you're. following it very closely. Who are you. rooting for? >> USA, baby. I'm very excited. They uh. >> USA has has been doing well so far. >> Amazingly well. Yes. >> And you know, it there was a time there. where people thought America's never. going to really participate successfully. in this sport, but it's happening. >> Yeah. I was one of the doubters maybe at. the beginning of this tournament. >> Well, you've never really rooted for our. country. [laughter]. >> That's true. >> But some of us do and some of us. believe. Uh, all the stuff I just said.

is pretty crazy and stupid. The point is. Hyundai, the future of football and. Hyundai isn't coming. It's already here. Isn't that incredible? >> Hyundai, official partner of the 2026. FIFA World Cup. Listening to the album, you mentioned Mr. Charm, so I'm going to. bring this up. I don't think any singer. does attitude. better than you. And it's so interesting. because I will do another reference, but. in Mr. charm. I get some of the.

This is not a reference, but some of the. delicious. kind of uh almost oily disdain that you. can hear in like uh um Sympathy for the. Devil. There's a little bit of there's. this great attitude and you do it in I'm. a big fan of the show Slow Horses. You. do uh the theme song. Yeah. Um, and I I. love the attitude that you possess and. inhabit when you're singing that song.

>> Which one? To Mr. Charm. >> Well, Mr. Charm, but also. >> also the the the slow. >> the slow the slow horses theme. Yeah. Which is, you know, it it it's very kind. of almost burlesque, but. >> it's called Strange Game. >> Strange game. Yeah. And it's just I. thought um I think I saw you once said. in an interview that yes the lyrics are. important but really it's the sound. >> Yeah. >> And you have this I can tell you think a. lot about what is this going to sound.

like because. >> some very strange things in like dooop. music sounded great but when you look at. what it says. >> it's rubbish. >> It's just absolute rubbish. And it's the. sound and I think of so many Stones. records and there's a great attitude and. a sound to what you are singing. >> that I think adds a lot to the lyrics. I. think in attitudes though, you know, it's like it's acting really. >> cuz you you you're you're.

taking on the character of the of the. song, you know, and and so you so you're. when you do a love song, say like Back. in Your Life or the Jilted Lover, you're. playing the jolted lover. So obviously. that's happened to you before but I mean. so but but that's a whole different. attitude. It's a different person you. you know you so when you come to do. I mean it's easier in the recording. studio because you you have to do them.

one after another. >> Yeah. >> And on stage it's you have to switch. personas you know quickly you know you. go from Symphony Daryl to a ballad you. know whatever but you don't do that. >> You almost want a screen to come down. for a second so you can inhabit a new. inhabit another space, you know. So, when you get into a song in the studios, but remember you haven't done that song. that many times. Yeah. You know, you. might have done a demo of it. In that. case, in this case of Mr. Charm, I did a. demo. So, I I wasn't like walking into. doing a song that I didn't know. Uh I.

knew it, but I had to make it much. better than the demo, you know, and I. rewrote the lyrics and everything. And. then you you start to get into the. character of this. uh and and like in that song there's two. attitudes. So there's the verse attitude. where you're kind of trying to be. beguiling. >> And then there's the chorus attitude. where you're kind of throwing something. else away, you know, saying life's too. short, just make money and all that. So.

it's it's a slightly different different. attitude. Then you come back to the. verse where you're then, you know, throwing sort of these. kind of scattered gun images out, you. know, in what you hope is a kind of. interesting way. >> No, but I mean the I listened to this. album. I listened to it a bunch cuz I. really like it and uh. >> Thank you. I I noticed that. Yes, I can. see obviously you guys famously started.

as a blues band, but I see there's blues. in here, there's rock and roll, there's. also country. Again, I think you've always been. interested in many different genres of. of kind of music. And I was very. interested in the country aspect of the. album because I know that. if I didn't know any better, I'd think, well, country couldn't have been an. influence, but it was an influence. >> Was country was a huge influence when on.

well I think on every uh most English. musicians of that period. I mean we we. grew up forget these songs were also big. a lot of these country songs were big. hits. they were like top 10 hits, but. you know, people like Eddie Arnold and. all these people, they had huge hits. They were pop hits even though they were. country songs. Um, and then you got on. to people like George Jones and you they. were played on the radio. So, this. wasn't obscure. You know, the blues was. more obscure. These were hits. Uh, the.

Evely Brothers were country. Yeah. I. mean, really, that I mean, they were. pop, but but they're still country. And. and Johnny Cash. Johnny Cash had a. number one record with uh Ballad of a. Teenage Queen. So as soon as you heard. that and you like Johnny Cash, you would. explore more Johnny Cash and you'd. realize that he was a country singer. >> It's also you realize when you listen to. 1954 Elvis Sunession, it's it's a click. and a half away from country. It's. rockabilly.

>> Yeah. >> Um but if you slowed it down a little. bit, the instrumentation. uh it it's so close to country. >> So close. But he was covering rhythm and. blues songs a lot of times. I mean, of. course, he did standards like Blue Moon. in those kind in the same period we're. talking about. >> And um but the obviously these these. songs like That's All right, Mama, which. is I think the first one he did. >> He did first one. Yeah. >> And and that was a R&B song. And then he.

did Hound Dog. That was an R&B song. They're all these are all R&B songs. So. even though we say, "Yeah, he's so. country," he was covering R&B in a kind. of slightly different country way. >> Yeah. >> And you wouldn't really I'm not sure. I'm not a great Elvis student, but I I. mean, I love Elvis and all that, but did. he really do country music as we know. it? >> No, probably more Well, gospel. He loved.

gospel. >> Yes, gospel. He did. >> love gospel. Um, but you can see that. you're right, those early influences. I. think it's a it's a gumbo. There's. country is is part of his makeup, but. much more so gospel, rhythm, and blues. >> Um, and I think I'm just You never met. Did you meet Elvis? >> No, I never met Elvis. >> That's incredible to me. >> You know why? The Daily Mirror, an. English tabloid that still exists very, you know, there were you always did. publicity with the Daily Mirror and the.

Beatles did it. There was a Chis. journalist, I can't remember his name, very famous at the time. And he took the. Beatles in Los Angeles to see to visit. with Elvis. >> Yeah. >> And they there's pictures of this. >> Yeah. >> They went up to Elvis's house and his. pool. >> Mhm. >> And they walked in and he was playing. bass. Was he. >> watching TV playing bass? >> Okay. >> But they were all. high. The Beatles were high and they. none of them have their story straight.

None of them can remember exactly. remember anything, but I remember John. telling me, >> "Yeah, you know, you should never meet. your heroes. I would I would never meet. Elvis, Mick, if I were you.". >> That's fascinating. Yeah. >> And so I didn't I took John Suffice. >> Yeah. >> Which really stupid of me really. But I. mean, I would love to have met Elvis. Why I take John Suffice? [laughter]. But I mean at the time. >> Yeah. >> it seemed to ring Well that I mean so. >> No, he he uh famously in the ' 64 tour.

he kept saying the minute they got to. America John kept saying where's Elvis? Where's Elvis? Where's Elvis? That's all. the only person he wanted to meet. Then. they met Elvis. uh and in Bair at his house. >> and John walked out and said, "Where's. Elvis?" Because that was not the guy he. wanted to meet. >> Yeah. >> He disappointed him. >> Yeah. Uh, >> and he told me that all this story more. than once. >> Yeah. >> And and so it sort of put me off.

>> So I wanted to keep my Elvis to myself, my version of Elvis. >> And so I didn't want my version of Elvis. shattered like John's was, but maybe my. Elvis version would have been different. >> Well, I have to tell you, I've always. wanted to sit and talk with you, and. this is a massive disappointment. >> Yeah, I can imagine it is. Here we. [laughter] are stuck in this little tiny. room in West London. >> I'm going to leave and go, where's Mick. Jagger? >> And and yeah, I was enjoying being in. Casablanca. This is crap. [laughter]. >> I I did have a good time in Casablanca.

Um and uh I you know, there's something. about this album, Foreign Tongues. I was. thinking, you're not nostalgic. I can. feel an urgency. There's a sense that. you guys got into the studio. I know you. made it very quickly. And what I'm very. impressed by is it almost feels like. you've got something to prove, which you. don't. But that's how it feels. A lot of.

these songs really feel like you're. having a great time, but let's get this. and get it right. Is that is that. fair? >> Yeah, it's fair. I mean, but that's. that's how modus operandi for when we. did Hackne Diamonds, you know, it was a. way of working. So the previous way we. the the bands obviously had a lot of. ways of working in a studio. Um and and. when we did Hat Diamonds that was a. different way of doing it. It's like. okay we got these songs we got them. prepped a bit at least they're done. Um,

we're not writing songs in the studio, which lower bands do, we used to do, and. and we if something comes up in the. studio, fantastic. And it this might. change, this song may change completely. and utterly, but you have an idea and. and we're going to plow through them. We're not going to hang around. We're. not going to wait. We're not going to. play them all day. We're going to do. them for a couple of hours and we'll. move on to the next one. And if we'll. come back the next day, we might do it. again or might come back next week and.

do it again. So, we're always moving. ahead, always plowing ahead. So, there's. no time for too much uh um you know, selfanalysis of whether it's the songs. any good, where the performances any. we'll find out cuz when it's all. finished, we'll we'll listen to them. all, you know, and see what have we got. after we've done four weeks. What have. we got left? What's good? Which are your. favorites? Which ones? Is there one you. don't like? Is is this does this all. stand up? Cuz we don't want to have any. filler. We want to set the bar high. So.

every track has to have something. special about it. Okay. Some might be. you might be your favorites, but it. doesn't mean to say that the other ones. don't have something to say. >> Well, Rough and Twisted. I love In the. Stars. Obviously, you guys knew we've. got something really great here. >> Yeah. >> Love the video. >> Fantastic. >> Um, you guys sort of reimagined as your. younger selves and it's it's it's great. It's fantastic. >> It was only AI with the faces.

>> Yeah. >> Everything else is real. >> And you told me that at one point they. got a little screwed up because you. thought Ronnie Wood doesn't look right. They're young. You looks great. Young. Keith looks great. They they made sort. of they tried to make a faces era Ronnie. Wood. >> No. What I said to I said to we were. talking with this um the lady that I'm. working with on the video. So they're. doing this AI that and I said stop it at. 3:18. I I was talking to Jeff. We're on.

we're on a Zoom. I said stop it at 3:18. I said that's Jeff Beck. [laughter]. Ronnie that's not your guy your guy is. he's referring to Jeff. He's got the. wrong cuz the thing makes mistakes. >> The thing was the thing was that Ronnie. was in a band with Jeff Beck. So So they. might have gone back to this footage and. said I I don't don't please don't bother. me about this. I know exactly who these. people are. And he got Jeff and it. looked exactly like Jeff Beck. So we had. Jeff Beck in the band for a minute.

there. That was [laughter] interesting. So I said, "No, you got to change it to. Ronnie.". >> Because the Keith and I images were. taken from Sympathy for the Devil. Yeah. >> Most mostly not. It's not quite that. simple. >> Was it Gdard who made them? He made a. movie. >> Of course, someone famous. A famous. French film director. >> Yeah, a French filmmaker. And I know at. the time you were thinking, why is he. shooting us creating? And now it's a. great document. >> Yeah, it's the only one like that. It's. the only one that exists from the 60s. >> You know what's another great piece of. footage is there's this great footage of.

you and Keith. You've just come back. from recording in Muscle Scholes. You go. into a room. I'm sure you've seen this. You walk into a room and you've got the. demo for I think it's um Brown Sugar. >> Yeah. You put it on and you're listening. to it. It's not out yet, but you're. listening to it. >> and you see you start to both of you. start to groove to this thing and you. start struting around the room and you.

have the same reaction that later on. everybody's going to have, which is this. is a great track, but it's you guys. hearing it for the first time. >> Yeah. You're in the rough mix or. something. >> Yeah. >> Is that in Gimme Shelter by the Maser. brothers? >> Yeah. Yeah. >> Yeah. >> It's great. It's just a It's just a. great moment. Uh you as a fan of the. Rolling Stones. >> Yeah. I can be that. >> Yeah. Um I'm. >> I can also be their severest critic. >> Is that true? >> Well, you kind of have to be sometimes,

you know. I mean, and and sometimes. you're wrong, you know. You can be very. wrong because you're not a very good. critic of your own work. One one is not. a good critic of one's own work really. Um, but you know, you are the first. person that hears it after all in in in. in reality. >> I have to ask you, I mentioned this when. we talked in Brooklyn, but I have to. bring it up. Your. voice. sounds.

as good as ever. There are times where I. think it's better than ever. It's. uh defies logic, but I know that you are. an extremely disciplined guy about your. health and taking care of yourself, but. you listen to this album and I think. this is a this is a 28-year-old singer. It's really amazing. >> Oh, that's that's very kind of you to. say that. Uh well, yeah. I mean, it's it. it's good. I feel happy that you because.

you. >> and you're doing falsetto stuff on on. foreign tong pretty easy. >> I find that quite easy. That's not I. mean people have given me lots of. compliments about that and to be honest. that's the and I appreciate the kindness. but that that some of the other songs. are much more difficult than that that. one's relatively easy to do. Um, I. learned I learned falsetto singing very. early on in the Stones career when I. listened to Don Cave. He was a soul. singer. Um, and he was singing this song.

called Have Mercy. >> Don Cave also wrote Chain of Fools for. Artha Franklin. >> on his song Have Mercy. He sings only in. falsetto. So I copied that and and we. covered that song. I mean, I'm sure my. version is useless compared to her. I'm. I was practicing. Um but that kind of. falsetto singing is relatively easy. because you never change from falsetto. back into your regular voice. That's the. difficult thing to do. The difficult. thing is going in and out of.

>> foretta. Yes. >> So I can't really do that very well. Like the person that does that. brilliantly is Al Green. >> Yeah. So if you listen to Al and I was I. last month I was I put on this alg. record and I hadn't heard it for a while. and I said I was analyzing what he was. doing with his vocal and he was he so. he's going for a set and then he's going. back in the same line is going back to. his regular voice and then he's going. back for I said okay I see so I've got.

to do that too I've learned how to do. that and so I just sang along with Al. Green trying to do it I mean it's not. easy but it's possible. it. I learned this a long time ago, which is I I very few people sort of in. your caliber, but I remembered once uh. getting to see Bruce Springsteen, the. East Street Band perform. And then I was. got taken backstage cuz my drummer for. years, Max Weinberg is Bruce's drummer. >> He took me backstage and I got to hang. out with Bruce a little bit just after.

the show and he at one point had been. trying to been singing in this falsetto. and I said that was that was great. I. love that part and I didn't realize you. could do that. And he said, "Yeah, I'm. really working on it and I'm trying. I'm. trying. I'm trying." And I thought, "This is fascinating. I see the same. thing with you.". Everyone else would assume that you've. got nothing less left to try. But of. course, you do. >> Loads of things you can do. >> And And you are still thinking, "Yeah, I.

I'm going to listen to this Al Green. record and okay, what's he doing here?". And I want to work on that. >> Yeah. cuz I haven't I haven't mastered. that. So in the studio, so I do like a. song like um Jealous Lover. So I so I. can sing the falsetto part in the verse. first and then. >> then the chorus is in full voice and. then you layer it with lots of harmonies. that I did in falsetto and full voice. But then I'm not really.

doing the green thing. I'm doing one set. in full setto and one set in full voice, you know. So, so I mean it's not. cheating. That's just the way I laid it. >> But [snorts] I do think there's. something about we all have our heroes. It's your attempt to be your hero that. fails. But and in the failing of being. exactly like the person you idolize, you. create something. >> Something new comes out. Yeah. It can't. be that. I mean, >> you guys were listening to blues and.

saying we want to do that and it's of. course it's different. You're from. Dartford, you know. It's going to be. different. >> I can't be Howling Wolf, you know. I. mean, but but you do have I'm never. tried to sound like Howling Wolf. Nobody. can. Nobody sounds like Howling Wolf. Not even. >> I've never s heard anyone. But yeah, you're absolutely right. You you you. while you're copying people, you create. something new. >> The um you know, we were talking about. how so much has changed. One of the. things that this first wave of.

uh pop stars in the 60s faced. was well you can't be doing this when. you're not in your 20s once you're you. know once you're 28 29 this is for young. kids to do you can't be doing this. >> there's a great. clip I saw it's backstage it might be. Madison Square Garden I think it's. late60s Dick Cavitt's talking to you and. He said, "Do you think you'll be doing. this when you're 60?" And he said, "And.

you have a cane?" And you said, "Sure.". You said, "A lot of You said,"Marlene. Dietrich is still out there and she's. amazing." And I thought, "That's such a. great answer because I think the. standard answer then was, "Well, of. course not. Of course not." But you. said, "Why not?". >> Yeah. >> Why not? >> Well, you know that there had been I. mean, see, the thing about rock music is. associated with always associated with. youth. It's that it was the music of. rebellious youth, so to speak.

>> And um. >> I mean, most rock bands are young and. you want there to be young rock bands. and you know, it sort of comes and goes. and there's been a slight revival of it. now, but um you thought that that once. you're out the flush of youth, you. wouldn't continue. But rock music kind. of evolved, I suppose, in a way as well. And it also remained the popular music. with the with the same group of people. that were in that your same age group.

They still liked it. >> So they didn't move on to some other. music as they might have moved on, but. they still kept a a thing for their. youth. You know, >> I mean there were there were people I. mean Frank Sinatra was still a big star. and he was when he was older, but it's a. different kind of music. You don't need. quite as much energy to do Frank Sinatra. as you need to do the Sex Pistols. I. mean you or the Ramones. >> or to do Hit Me in the Head. >> What I think I mean I I can't I'm.

hardressed to think of anybody who. expends more energy on stage still as. you you're in constant motion. Um I I. couldn't do that. I couldn't do that for. 15 minutes. Uh let alone a a 2hour plus. show. So, you know, I I the stamina that you. have, I know you work at it. >> I'm wondering, does any of that come. from the fact that your dad was a a. gymnast and a physical fitness guy? Did. you think that you grew up a little bit. with that? Like, I got to take care of.

myself. >> Yeah. You kept telling me you have to. take care of yourself. >> You, you know, if you don't take care of. yourself, you're going to be And he. point at someone like who was 55 who fat. and smoking in an armchair. >> Yeah. [laughter] Yeah. Yeah. >> You'd be like your uncle so and so. >> Yeah. Yeah. >> And you know, you don't want to be like. that. No, no, I don't. Yeah, but it goes. in, you know, when you're young that go. that sticks with you. So, yeah. >> I would have been, I don't know, 12. years old, I think, when Elvis turned 40. >> and the National Enquirer was just.

vicious. >> Yeah. >> About Elvis turning 40 because he was. the real first wave of rock and roll. >> Absolutely. So he's, you know, um he's. another generation older than you guys. and he was the first one to get Isn't. this absurd. >> that this man is still doing this at 40? >> Yeah. >> Which now. >> he wasn't in very good shape. That was. the thing. I mean, and then he got back. in shape. He he he came he did a great.

comeback thing where he looked amazing. >> but for a while he was he why he was. such a figure of fun I'm not saying the. national inquirer is is the paper of. record but. >> [snorts]. >> uh it why he was everyone used to take. the mick out of him was because he did. get overweight and he did and he. obviously wasn't in a very fit. >> and and and he wasn't very old I mean. this is all and how old was he when he. died. >> he was 42. >> yeah you know which Now, we were.

considered quite young for. >> Well, this is how screwed up things are. I was in high school. when I would have been 17, 16 or 17 when. my sister Kate knocked on the door. and opened the door. It was in the. morning in 1980 and she told me John. Lennon was shot and died. And I was. lying in bed and I said, "What?" And she. said, "Yes." And I said, "How old was. he?" And she said, "4." And I said,

"Well, at least he had a long life.". That's what I said. Now I am 63 now. I. don't think 40 is a long life. I don't. 60 I don't think 63 is a long life, but. that was my perspective then. >> Yeah, of course. >> Which is insane. >> Yeah. Well, today I know this is not. going out until later, but David Hney. just died. >> Yeah. >> And he was creating experimental art. He. was 87 years old and he never stopped.

>> never stopped. >> He never stopped not just repeating. himself. He didn't repeat himself. That. was the great thing. He he he he just. carried on, you know, trying different. things and trying different. ways of expressing himself and I mean he. was amazing and 87 I mean he was still. painting this year. >> Big news. Sona. >> Yeah. Did you know T-Mobile recently. partnered with the National Park. Foundation? >> No way. >> Yep. They're making it easier to stay. connected so you're free to wonder.

>> Well, that's really cool. >> And I love a national park. I really do. >> I do too. >> I've been to many of them and I want to. see all the rest. It's on my bucket list. to see them all. >> Okay. >> Now, there's one thing you have to have. if you're doing that good signal. It's a. priority. Do you know what I mean? You. got your maps, your music, this podcast. >> Yeah. So take America's best network. plus their off-grid satellite coverage. with you. Look, we're all a little. spoiled, but we like to have access to. all our stuff and suddenly you don't. have it because of a bad signal. That's. when I throw my phone into the Grand.

Canyon. >> Oh, okay. >> Literally filled half the Grand Canyon. with phones. Then I got T-Mobile, never. had to chuck them again, [laughter]. >> you know. >> Good. >> So wander over to T-Mobile.com and. switch best based on analysis by UCLA of. speed test intelligence data for 2H. 2025. Wow, that's some sentence. T. satellite with capable device in most. outdoor areas in US where you see the. sky. That's important. You got to see. the sky. Service may be limited or. unavailable. Included with experience.

beyond or $10 per month. Auto renews. cancel any time. That was probably meant. to be said by a robot really quickly, but I just did it slowly so you could. really understand. >> I was at the airport waiting in one of. those long lines and I kept saying, "Hey, let me through. I'm Conan O'Brien. And they said, "Shut up. You'll wait in. line." And I went, "Oh, okay.". [laughter] And. >> that's so sad. >> It's a really good story. >> But I was hungry. I didn't have a snack. with me. You got to keep your And I. didn't want to lose my place in line and. go try and find something.

>> I know. >> That's when you got to have Neutrorain. on you. >> You got to always have a snack in your. bag. And when it's a Neutrorain, it's. perfect. >> It's perfect cuz it's the right size. It's handy. It's also nutritious. Okay. You can go anywhere. It's made with 10. grams of whole grains, 10 vitamins and. minerals. These guys are obsessed with. tens. And no high fructose corn syrup, neutrorain nourishes, and it hits the. spot with delicious flavors. They got. strawberry, apple, cinnamon, blueberry. flavors. I just had a blueberry back in. the snack area. Yeah,

>> with a little bit of a glass of milk. >> You earned it. Nice job. >> Uh, [laughter] nice job. Each Neutrorain. crunchy bar contains at least 23 grams. of whole grains and provides a good. source of fiber. Mhm. >> Find nutritious and always delicious. Neutrorain bars at your favorite store. or online retailer today and look for. new Neutrorain crunchy bars in stores. near you. Oh, I'll get that crunchy. I. will. >> I have to ask you, is the harmonica that. I hear on the Foreign Tonges album, is.

that you? >> Yeah, >> it's okay. >> Ronnie plays the harmonica, but he. doesn't play on this album. >> Well, also there's a there's a great. quote, a Keith quote. Keith is a huge admire of your harmonica. playing and he said that is. that's the that's the you know there are. many Mick can assume many forms that is. he always felt your harmonica playing. was the key into that's the core MC. Jagger that's the Apple logo that comes.

up when you've turned on the computer. for the first time is you harmonic do. you think that's close to something true. >> it's kind of true but the thing is in a. I think in a funny way. the the harmonic is a an extension of. the voice, you know, because it's a. blown instrument and you're you're. making go, you know, it's it's a voice. extension thing. So, I think it's a for. a vocalist, it's a good extension of of. a voice, you know, so a natural. instrument of a voice.

>> Of course, what I like doing is playing. punk guitar. So, that's what I really. like doing. So, um, so. >> do you ever do open tunings or do you. just do you. >> I do both. Yeah. >> And, um, but, uh, when I do the slashy. indie guitars, it's always six strings. and Ronny and Keith always sort of look. at me. But I, but I do it anyway. >> I do. >> They don't want you on the guitar. >> Every. so, but [laughter]. they've sort of learned to put up with. it. >> Yeah, they've learned to put up with it.

And you know, I love doing it because. no, it's harder than that, you know, it's like this, >> you know, because because on some of. these fast songs, it's like, you know, like hit me in the head and all that. That's it's really slamming, you know, you have to really slam it. I'm not. saying Ron and Keith don't slam it cuz. they do. But when I've written something. like that, I I think I I always want to. be on it, you know? I always want to be. playing guitar on it. So that's why I. gave I mean I love playing harmonica.

too. The harmonica thing was great on. the Amy Winehouse song because I played. the harmonica. the horn parts on the Amy original. I. played on harmonica. which is a horn part. So I play that on. harmonica. That was a good opportunity. >> Do you write exclusively on guitar or do. you also sit at the piano and write? >> I do piano and guitar. >> Piano and guitar. >> Piano guitar. Sometimes I just sing to. drum machines. Just anything with no.

instrument, just me singing. >> Do you find that like you've got to do. it early in the morning? Cuz I know. there. >> No, I hate doing things early in the. morning. Only thing early in the morning. is breakfast and read the newspaper. >> Uhhuh. >> That's it. >> Many people have been asking, is there. going to be a tour for Foreign Tongues? And I selfishly would want that because. I want to hear these songs live and I. know you're going to get me a ticket. >> Yeah. >> You guys are saying probably not right. away.

>> Um. but what do you think? Do you think. it'll be maybe in a year? Is it possible. or it's hard to say? >> It's possible. I I I think I think I'd. love to do it too cuz I think there's a. lot of songs on this album that that. would translate into live really good. Um but um I mean having said that you. can't really do that many new songs if. you do stadium shows they the audience. is not that accepting accepting [snorts].

of them. You know they [clears throat]. want to hear what they're familiar with. >> Can you clock that when you're trying. something new and you see people head. for the bathroom? >> You kind of Yeah. You [snorts] do. [laughter]. You'll get used to it. You. You'll [laughter] like it. Honestly, you'll like it. Yeah, but you must have. felt that when you were singing some of. I mean there were many times in your. life where you were singing new tracks. >> Of course, >> but no one you know Led Zeppelin had to. play Stairway to the Heaven for the. first time at one point on Long Island.

and people were like, "What? What is. this shit?". >> Yeah. Right. It's always the first time. that then Yeah. The more confident you. get, the more you just We're doing it, you know? But there's still a limit to. how many you can do out percentage-wise. in can see someone headed to the. bathroom and. >> sometimes [clears throat] I can I don't. concentrate on that. >> I would only concentrate on it. When. when someone I'm talking and people are. heading to the bathroom, it's all I can. think about [laughter] and it's they. often that's when they use the bathroom.

is when I start talking. Um I heard you. talk about David Bowie once. I think it. was when we were having dinner and you. were talking about at David Bowie at one. point and you. you said an interesting thing which is. we were competitive but we were also. good friends. That's a very hard thing. to maintain. But I think you did you. guys did that beautifully. >> Yeah, we were competitive. David was so. competitive. Much more compet I was made. competitive by David. I mean, I had to. >> How so? >> Well, he was just so competitive that I. had to be competitive back, you know,

but he David went through all these. different. >> Yes. You know, iterations. >> iterations of David. There isn't one. David Bowie. There's kind of like an. slowly evolving David Bowie. There's. there's jump cuts of to you know to. another David Bowie. Yeah. Another. style. >> Then he's the thin white Duke. You know. he's not. >> you know when he was doing like Jean. Genie he was very stonesy you know. >> that was very stonesy period and so he. would come over and play me Jean Genie.

You know I've got you want to listen? I. Yeah of course. I said God he nicked all. my things. [laughter]. Yeah I know man. I know. But it's like a homage to you. >> It's homage. Yeah. Sure. >> Homage. >> Yeah. Yeah. >> I think John and I were very. competitive, too. John Lennon, but we're. more competitive in being sarcastic. >> Yes. [laughter]. >> Verbal competitiveness. Have you ever. seen the video of him and Bob Dylan in. the back of the limo? >> Yes.

>> I love that. [laughter]. >> I love that cuz Bob Dylan is not in good. shape. They're in the back of a. Rolls-Royce. They're driving around. London. I think in ' 65. and um John's got that acid wit where. he's saying come come boy come come. >> you do you suffer from scraggly forehead. you know what he's he's he turns it into. an aspirin ad because Bob Dylan can't. pull it together. >> no that well that's what that's very. much like Don that that that. >> did you guys get along. >> yeah we got really got along but I mean. that was John at his most you know.

>> he's being very sarcastic with Bob you. know and Bob's not really coming back. with the with the zingy answers. [laughter]. >> No, no, he's impaired and he's he's he's. not Yeah, he's not. >> But that it does give you a good. illustration in because that most of the. other things you see of John are kind of. like short and that's kind of extended. sarcasm. >> Yes. So that was him all the time?

>> No, not all the time. No, >> he could be sweet. >> He could of course he could be lovely. >> Yeah. But, you know, he's one of these. people that if you said something. stupid, he'd pick you up. You know, >> he'd see it right. He'd clock it right. away. >> Right away, you know. >> Yeah. But he he was very competitive. about He wasn't competitive about. anything else. >> Mhm. >> You mean just You think he was most. competitive about being funny? >> Yeah. >> Being funny and sarcastic. >> Yes. >> More so than music. >> It's it's it's a kind of Liverpool. thing. I think I think maybe I'm.

stereotyping, but I think it is. You. guys have been great at tour promotion. I don't know what you might do for the. next tour. One of the greatest things. you ever did was all get on the back of. a flatbed truck, drive down Fifth Avenue. singing I believe Brown Sugar. >> Yeah. And I'm thinking that takes nerve. to drive through uh New York um in. traffic and and all the press was told.

you were going to be in this restaurant. and then they hear music and they come. running out of the restaurant with their. pads and their cameras and you guys are. on the back of a truck going by. That's. it. >> Which was fantastic. Lovely. I don't. know if people do things like that. anymore. >> They don't really. um that apparently. Charlie told me that was a thing that. jazz bands did in New York to promote. their gigs. I think. >> in Harlem, I think they would get on the. back of a truck. >> I think that's where we got it from. Um.

I think it might have been Charlie's. idea. >> Yeah. >> Um because that was a thing that. happened in Harlem. >> Yeah, >> you mentioned Charlie. Charlie's you use. a track of Charlie's uh in foreign. tongues. >> and it's amazing. I know you guys are. all so readily. identifiable by your sounds. It's very. hard to do on drums, but you always know. it's Charlie. >> Yeah. >> It's really incredible. >> Yeah. >> I mean, he's got two sticks and a drum. kit that.

>> he doesn't have some Keith Moon crazy. kit with a thousand. >> He's got a standard kit. >> You always know it's him. >> Yeah. And and the funny thing is on this. track, which is pretty fast rock track, you're almost punk, you might say. And. and everyone says, "You char such a. sensitive jazz drummer, you know, that. was what's so different about him.". Well, not on this track. >> No, [laughter]. he's banging it. >> Yeah. The uh I have to ask you Oxford.

Shure Pub. As we record this, I think. days ago, you walked into an Oxford pub. and started singing to people. How did. that happen? >> Well, I was. >> Were you off your meds? What happened? [laughter]. >> Yes, I was didn't know where I was. I. had I had dinner at an Oxford college. I. went to an Oxford college. I was invited. to a dinner and uh very interesting. people, very pleasant, lots of nice.

students. And then one of the students. that I was talking with said, "I play. mandolin." I said, "Oh, that's nice." I. said, "Uh, not the easiest instrument.". He said, "I play mandolin. I'm I'm going. down the road to play with an Irish. band.". >> Mhm. >> So, do you want to come? So, I said, "Sure.". And so I took a couple of people that I. was with and the prost of the college. >> Mhm. >> and and he took his gown off [laughter].

and going to the pub and and it was a. very small pub and very friendly people. and the the band was doing fiddle pieces. and the guy joined in with his mandolin. and but no one was singing. >> right. So I thought, oh well, here's a. here's an opening. You want to sing it. yet? >> This is my this is my big chance. >> This is my chance for pub crawling. singing. So I did a song that I'd. actually recorded and then but I had to. rehearse it just mentally because I.

hadn't sung it in years and I remember. the at least three verses. >> It's like an old standard, right? >> Everyone's done it. I think even Bob. Dylan's done it, I found out, >> right? >> Um but not that I've heard it. Um, but I. had to remember at least three verses in. my head before I started. So I didn't. just launch into it cuz the worst thing. you can do is launch into a song and. then you've got one verse. >> and like so I realiz. >> I would pay to see that happen with you. I'm sorry. I would just love to see it. >> But it was fun. It's 2 minutes long.

Yeah. Well, that's I mean that keys into. I think the main. point this is that I wanted to get. across in this interview which is. something that uh really strikes me in. the in the short time that I've been. able to hang out with you is. that you were very much living in the. moment making things in the moment. this. album, Foreign Tongues, is of this. moment and you I mean sitting at a.

dinner with you and watching you trying. everyone else's food, stealing some of. Ronnie's dessert and I thought you're uh. you can converse about anything. Uh. you're, you know, crazily uh deeply read. and you're just fascinating in all. fascinated in all kinds of stuff. And I. thought I left my time with you and I. thought I need this is my new spirit. animal is is MC Jagger. I want to I.

[clears throat]. aspire not to be you cuz that's not. going to happen but to kind of adopt. that philosophy about life which is uh. just bite into it, stay interested. >> Yeah. Uh delight yourself. >> I think that's like one way. I mean this. doesn't doesn't suit everyone you know. I don't think that attitude suits. everyone cuz some people if you're a. creative person let's imagine. >> you will draw on your past. You you.

might draw on something that you had an. idea for when you were 25. You might. have written a short story. >> when you were in 25 and you didn't. publish it and then you realized that. that would make a great film script or. that would make a novel that I could now. write now I'm 65 let's say. So that's. it's not true that that that you you. can't you you can't draw upon this this. whole well of your past and make it into.

something. It's and so you you're not. you you got have to be aware of of your. past and but that doesn't mean you live. in it and you know you feel. >> of course I'm always asked you know what. happened when you did this and it was so. long ago and you and you you you find. yourself like just repeating these. stories and you know if they're even. true anymore. Yeah. >> You know it's just like a. >> you know footballer in a pub talking.

about his goal in 1972. you know it's a. you don't want to become that you that's. a danger so yeah so everyone says live. in the moment you know it's just a kind. of. >> like a like a kind of fashionable mantra. but I mean to a certain extent it's true. and I mean I think also when you're. writing like these kind of ephemeral pop. songs which the these this is what this. business is you you got to stay in the.

present day so so was writing a song. like Ringing Hollow, you're you're. thinking about the now of what what. you're living through now, which of. course you you never know could change. by the time the record comes out, but. you but you can only write that you. can't really look into the future. It's. hard. So, you just write of the writing. of the now, >> you know, in a song like Divine. Intervention, you're writing of the now. uh of what your feelings are,

>> you know. So there's there's a there's a. thing that runs through these lyrics of. these songs that is definitely of the. now and the kind of weird period and. we're kind of like it's [clears throat]. it's difficult for some people living in. this period. >> and and um. and and you know there's possibly. dangers that you know that that we're. all in in some way or other but we're. geopolitical dangers or economic. dangers.

um and who knows what else. And and. we're all a bit we're bit a little bit. um sensitive to them. I think people are. sensitive to the to these things. And so. when I'm writing this stuff, >> you know, I can't help myself, but I'm. not I'm not setting out to even write. it. It just comes out. >> Yeah. It's what's happening right now. And uh these are scary times, but um. I have to thank you because you've given.

me you and the other lads have given me. an enormous amount of joy in my life. And. >> thank you. I'm glad. >> I. >> That's what we're here for. >> I Before I became a bad guitarist, I was. a bad drummer. And when I was a kid, I. would set up uh my drum kit in the. living room and put on Stones Records. and try and do what Charlie was doing. And my parents let me do that. And we. had neighbors. They were lovely. They I. can't believe I would not let my kids do. that. >> I would I would smash the kit. But.

you've given me enormous joy. Um lovely. getting to know you uh and talk to you. and you're one of my favorite. conversations. I've been talking to. people non-stop for 32 years and you're. one of my favorite people to talk. >> I hope the conversation today we we. covered a few of them. >> We got we got so much. didn't talk about. your hillbilly guitar playing much and. your guitar collection. [clears throat]. >> You may have mentioned that on these. podcasts before. No, we we uh we talked. about it at dinner and we got into my.

fascination with Rockabilly and um. >> wanting to sing and and funny Keith. >> heard me do Ronnie Hawkins, a version of. Ronnie Hawkins 40 days where I do it. twice as fast as Ronnie Hawkins. >> and Keith said, "You sound like a. auctioneer.". [laughter]. like. but um yeah, this is one of the joys of. my life and I'm so delighted that we. were able to get together today really.

and foreign tongues. Uh please when you. get a moment tour with this because I. really want to hear these songs live. >> Yeah, me too. I want to do it. Thanks. Nice to talk to you.