When I started, all I wanted to do was play like Chuck (Berry)

[John] Belushi was an extreme experience even by my standards.

I've got nothing against daylight. I don't live totally nocturnally. Only when I feel like it. Which is most of the time.

And it was a very, very fruitful and great relationship between the Stones and The Beatles. It was very, very friendly.

There was a knock on our dressing-room door. Our manager shouted, 'Keith! Ron! The Police are here!' Oh, man, we panicked, flushed everything down the john. Then the door opened and it was Stewart Copeland and Sting.

In fact, I take the view that God, in his infinite wisdom, didn't bother to spring for two joints - heaven and hell. They're the same place, but heaven is when you get everything you want and you meet Mummy and Daddy and your best friends and you all have a hug and a kiss and play your harps. Hell is the same place - no fire and brimstone - but they just all pass by and don't see you. There's nothing, no recognition. You're waving, “It's me, your father,” but you're invisible. You're on a cloud, you've got your harp, but you can't play with nobody because they don't see you. That's hell.

Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.