And I had that with Charlie, developed over many, many years. That was different from a guitar player’s relationship. He would understand what I was trying to do, and I would understand what he was trying to do. All he’d do was hits when James moved his body or went “Hey, hey.” That guy just watched James, so if he kicked his leg in a certain way, he would accentuate it. The most obvious example of that was when James Brown had a second drummer. If you’re a singer, you have a relationship with a drummer which is all about the dance, the accent you’re doing physically as well as vocally. Then he could play off my riffs with the audience. He could do quite subtle cymbal work in some places. It was a concise lesson in how good he was. In “Midnight Rambler,” he did a lot of different things in the space of one song: He got heavy, he could swing, he could do it slow. That was the only way I could get him to play really heavy – to get him mad. Sometimes, if I got him mad enough, he would. Charlie brought another sensibility, the jazz touch. He had two bass drums – it sounded great. We played with Carlo Little, who used to play with Screaming Lord Sutch’s band. And he wasn’t just a straight rock drummer. Some jazz drummers don’t want to play that. What did he change in the way you, Keith and Brian Jones played blues and R&B?
Looking back at Charlie, what was his impact on the sound when he joined the Rolling Stones in January, 1963? He came from a serious jazz background. But we still have to do “Paint It, Black.” We’ve got tons of numbers from most eras. We do “Living in a Ghost Town,” which sounds pretty good. We have a couple of numbers from the extras in the “Tattoo You” reissue.
#The rolling stones tour 2021 tv#
Because it was in TV ads, people got to know it. Keith and I were saying, the reality is that we have to do at least twelve, 13 numbers that most everyone knows.īut one thing you played when I saw you in Berlin in 2018 was a big surprise: “She’s a Rainbow”. I’m not saying we just touched on them, jammed on them. There’s certain drum licks that one doesn’t think about, but they’re part of the tune in a way that a bass part or a guitar part is part of the tune.Īre there songs coming into the rehearsals that you haven’t played in awhile? There’s certain licks that we want to do, that Charlie did. When we talk about what Charlie did on this one, we listen to the original record, and then we listen to the live versions. He played with Keith before we started the rehearsals, and then he did homework, listening to the tunes. We all knew him, and I’d played with him before. How have the rehearsals been going with drummer Steve Jordan?
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