Original subtitles

* It's the honky tonk Honky tonk women

* Gimme, gimme, gimme the honky tonk blues

Whoo!

We're in the process of making a record

that reflects not only what's going on on tour

but kind of a... a stripped-down motif of the Stones,

trying to capture the intimacy of the studio

combined with the energy of the live audience.

Yee-haw!

Yeah, it was fun to do and it's a different kind of album.

As I say, it's not just the usual live album off a tour.

Because we've done so much of that.

So this time we thought we'd do a slightly different approach

and we started off by thinking,

well, if we do some clubs, we could record the clubs

and if we do some acoustic set,

which we've been doing already in America,

and if we do record all the rehearsals.

Like we did in Tokyo and Lisbon.

Each night we took a studio on a day off,

which turned out to be a day on.

When the train comes in the station.

Paddington, or is that Waterloo or Blackfriars?

Charing Cross.

* Well, I followed her

* To the station

* With a suitcase in my hand

* Yeah, and I followed her up to the station

* With a suitcase in my hand

* Yeah, and it's hard to tell

* It's hard to tell It's hard to tell

* All your love's in vain

* When the train come in the station

* And I looked her in the eye

* Well, the train come in the station

* And I looked her in the eye

* Yeah, and I felt so sad and lonesome

* Yeah

* That I hang my head and cry

* Yeah

* When the train left the station

* It had two lights on behind

* Yeah, when the train, it left the station

* It had two lights, two lights on behind

* Yeah, the blue light was my baby

* And the red light was my mind

* Yeah

* All my love was in vain

* All my love

* In vain

It's really fun to bring it right back down

to its basic, original point

and realise why you cut it acoustically in the first place.

There's a certain cutting sound

and a certain ring that you can get off acoustic guitars

that you'll never get off electric.

And the biggest thing you have in your favour

is there's no volume control on an acoustic normally, right?

So it's just down to

the dynamics of how you hit the strings.

This one you go to bed with, yeah,

but be careful with the strings cos they're sharp on the top.

But otherwise you can take it to bed and hold the baby.

She's beautiful.

She's shaped like that and a nice hole in the middle.

I love you.

Mick sent me a list of sort of 390 songs or something

and said, "Pick any of them."

We could even try Let's Spend the Night Together.

- Yeah. That's not difficult. - I mean...

Whether it's gonna be any good or not, I don't know.

Charlie tried to test me on that one yesterday.

And he said, "It doesn't go like that."

I didn't do it, though, did I? I didn't do that.

We're playing songs that we kind of always liked

but never thought we'd ever play again,

and we'd just sit around in the room and say,

"Hey, what about, you know, Spider and the Fly?"

And we're all trying to like delve so deep into the old can

that you think, "Bet you can't remember..."

And you do them once in sort of 1966

and then someone turns round and says,

"OK, it's now almost 30 years later. Can you do that one?"

Well, you'd have to rethink it.

Yeah, we'd have to all relearn it.

Nobody's played that thing for...

...nigh on 30 year.

It's like being on some terrible Rolling Stones game show

where you have to perform

the ancient songs out of the book without referring back.

So give me the lyric sheet and I'll see if I can do it

without listening to the original.

And everybody somehow remembered

and you got a kind of freshness about it

just because they're not the songs that you play every day.

It was interesting to play Spider, I'm Free

and several others, Sweet Virginia and Let it Bleed,

that you don't play very often,

and it was nice to be able to touch bases with those songs.

* Sittin', thinkin', sinkin', drinkin'

* Wonderin' what I'll do when I'm through tonight

* Smokin', mopin', maybe just hopin'

* Some little girl will pass on by

* I don't wanna be alone and I love my girl at home

* I remember what she said

* She said My, my, my

* Don't tell lies

* Keep fidelity in your head

* My, my, my Don't tell lies

* When you're done you should hit the bed

* And don't say hi Like a spider to a fly

* Jump right ahead and you're dead

* So I sit up, fed up, go down, go around

* Down to the bar in the place I'm at

* Sittin', drinkin', superficially thinkin'

* About the rinsed-out blonde on my left

* And then I said hi Like a spider to a fly

* Remembering what my little girl said

I found some of these songs quite hard to do.

I found The Spider and the Fly a bit of an effort.

It really takes me back to another period.

I find that quite difficult to do,

so some of them I just don't take to very well.

In the end everyone says, "It's wonderful. I really like it."

"OK, well, fine. OK."

* She was nifty, shifty She looked about fifty

* I would have run away but I was on my own

* She told me later she was a machine operator

* She said I like the way I held the microphone

* And then I said hi Like a spider to a fly

* Jump right ahead in my web

That was cool.

But it was amazing

to be able to put the whole band in a small room and play.

- How about over there? - Over there? Yeah.

It was very unlike making a record

when you're in the studio and everything's very meticulous.

I was amazed that you could put that many people,

including the horn section,

voices, drums, bass, piano, guitars

and just do a take and it would, you know, we had it on tape.

The separation, the ambience, was great, the sound.

That is really old-fashioned, the way that was done,

with the horns, and if they're too loud, you move back a bit.

But it's great to play

because you know exactly what's going on where.

It was amazing cos we never normally

would consider ourselves playing that low,

very tastefully, low volume,

and if you'd have asked us if we were gonna do that,

we'd have said no, it's impossible,

but we just sank right into it very naturally.

So can you... Go in as soon as...

- Basher... Old Basher Watts? - Basher's coming in.

Basher's in?

OK.

Have you guys been playing Wild Horses?

We haven't recently, but we did, yeah.

* Childhood living

* Is easy to do

* The things you wanted

* I bought them for you

* Graceless lady

* You know how I am

* You know I can't let you

* Slide through my hands

* Cos wild horses

* Couldn't drag me away

* Wild, wild horses

* Couldn't drag me away

* I watched you suffer

* A dull aching pain

* Now you've decided

* To show me the same

* But no sweeping exits

* Or offstage lines

* Could make me feel bitter

* Or treat you unkind, yes

* Wild horses

* Couldn't drag me away

* Wild, wild horses

* Couldn't drag me away, yeah

* And I know I dreamed you

* A sin and a lie

* I got my freedom

* But I don't have much time

* Faith has been broken

* And tears must be cried

* Let's do some living

* After love dies

* Cos wild horses

* Couldn't drag me away

* Wild, wild horses

* We'll ride them some day

* Wild horses

* Couldn't drag me away

* Wild, wild horses

* We'll ride them some day

Let's pass it through the plane.

OK, are we going?

You wanna count off, Chuck, this one?

- Not you. Chuck. - One, two!

One, two, three, and...

* Well, we all need someone we can lean on

* And if you want to

* You can lean on me

* Well, we all need someone we can lean on

* And if you want to, if you want to

* You can bleed on me

Close.

* Start me up

* If you start me up I'll never stop

* Never stop, Never ever ever stop

Well, we are waiting for tickets

for the Stones this evening in Paradiso.

Why have you all got radios?

Because at ten o'clock they will announce on the radio

where the sales points will be.

* We used to ride, baby

* Ride around in a limousine

* You looked so fine, baby

* You in white and me in green

It was great. It was so good organised and everything.

So now we've got this little bandage.

Look.

Cos they're free tickets for the Rolling Stones tonight.

Best band ever made, Mick. Thank you.

It's gonna be a legendary concert, I think.

Probably broadcast all over the world.

It's amazing.

What a bracing day it is today.

Hello, sailor.

- Hi. How are you? All right? - Very well.

Mind the step.

Afternoon.

* Watching girls passing by

* It ain't the latest thing

* I'm just standing in a doorway

* I'm just trying to make some sense

* Out of these girls passing by

* The tales they tell of men

* I'm not waiting on a lady

* I'm just waiting on a friend

* I'm just waiting on a friend

* Just waiting on a friend

* I'm just waiting on a friend

How you doing, Charlie?

- Hi, John. - How are you?

Can I have a screwdriver in this mike stand, please?

We've got the hang bar in the solo.

But if you're singing, what about the hang bar?

- Yeah, but I won't sing it. - Oh, you won't sing?

- No, we'll just do an intro. - Oh, all right.

And... one, two, three.

There are some songs that seem to translate better

in a smaller venue such as this,

such as some of the blues acoustic things

that we're doing.

They seem to be more... come off better,

feel better in a smaller venue.

I've heard 'em talking about this.

It's the reason I can speak with so much authority.

- Yeah. - That was good.

I was trying to leave a bar.

Yeah. Second verse you forgot the hang bar, but...

- I know. - We can jump in.

Yeah.

Whenever we start these tours,

we always start off with a club gig.

It's a club band.

They just got bigger gigs

and you've gotta get used to working 'em.

* Ooh

* People think I'm crazy Always trying to waste me

* Make me burn the candles right now

* Baby, I can't stay

* I don't need no jewels in my crown

* Cos all you ladies are low-down gamblers

*Cheatin' like I don't know how

* Baby, I can't stay

* Cos there's fever in the funk house now

* This low-down bitchin' got my poor feet a-itchin'

* Don't you know the deuce is still wild

* Baby, I can't stay

* You got to roll, roll, roll me

* And call me the tumbling dice

* Always in a hurry Never stop to worry

*Don't see the time flashin' by

* Honey, I got no money

* Cos I'm all sixes and sevens and nines

* Say, now, baby I'm the lone craps shooter

* Cos I'm playing the field every night

* Baby, I can't stay

* You got to roll, roll, roll me

* Call me the tumbling

* Roll, roll, roll me

* Call me the tumbling dice

* Whoo!

* Say, baby I'm the rank outsider

* You can be my partner in crime

* Baby, I can't stay

* You got to roll, roll, roll me

* Call me the tumbling dice

* You got to roll me

* You got to roll me

*

* You got to roll me

* You got to roll me

* Keep on pushing

* Keep on rolling

* Keep on rolling

* You got to roll me

* Ooh, keep on rolling

* Yeah, keep on rolling

* Keep on pushing

* Keep on rolling

* Keep on rolling

* Yeah, keep on rolling

* You got to roll

* Call me the tumbling dice

* Oh, yeah

* Call

* Call me the tumbling, tumbling, tumbling, tumbling

* Dice

Well...

- All right. - All right, let's go.

- Here we go. - Let's do it.

There's an old saying, don't you ever forget where you come from,

cos there may be a day when you wanna go back.

I think it's a really cool thing that the band wants to do that.

They certainly don't have to,

but I think it does keep them in touch with the beginnings

and what made them want to do this in the first place.

I remember walking out on stage and thinking to myself,

"People!" you know.

I think you just get the feedback, just immediately,

and a kind of... it's a good gauge,

lets you know really where you're at.

* I'm gonna tell you how it's gonna be

* You're gonna give your love to me

It's funny, I always said about Mick

that this guy can actually work

a coffee table or a postage stamp

better than anybody in the world.

* You know my love not fade away

It's different for me cos I can't really run about and...

Everyone gets in the way.

* I try to show it and you drive me back

When we started, Mick's space to work in

was maybe the size of this chair.

And then he was jammed up to me and Brian and Bill.

And he learned to work a small area

probably better than anybody, except maybe James Brown.

And that's a toss-up too, you know,

cos Mick can work the small area really good.

* Hey!

I have to tone down everything.

I mean, I have to sort of...

It's that thing where a twitch of the eyebrow will suffice,

whereas in a stadium it's like the frantic arm waving.

"It's me. Here I am. I'm in purple."

But here it's, you know,

you have to make each movement go rather a long way.

* Hey!

* Hey!

* Hey!

* Hey!

As you know, there's several reasons why we're doing this

and it's not just for fun.

We're recording it.

We're trying to record some Stones songs

in, you know... they wanna call it acoustic.

There's no such thing any more. Everything's plugged in.

I don't care how unplugged you think it is, you know?

But we're gonna play them down a little

and like play them a little looser

and give them more of an acoustic feel,

maybe like take 'em back to where... how you wrote them.

Two, three!

* Well, when you're sitting there

*In your silk upholstered chair

* Talkin' to some rich folks that you know

* Well, I hope you don't see me in my ragged company

* Well, you know I could never be alone

* Take me down, little Susie

* Won't you take me down

* I know you think you're the queen of the underground

* And you can send me dead flowers every morning

* Send me dead flowers by the mail

* Send me dead flowers to my wedding

* And I won't forget to put roses on your grave

*Well, when you're sitting back in your old pink Cadillac

* Making bets on Kentucky Derby Day

* I'll be in my basement room with a needle and a spoon

* And another girl to take my pains away

* Take me down, little Susie

* Won't you take me down

* I know you think you're the queen of the underground

* And you can send me dead flowers every morning

* Send me dead flowers by the mail

* Send me dead flowers to my wedding

* And I won't forget to put roses on your grave

* Well, all right

* Take me down, little Susie

* Won't you take me down

* I know you think you're the queen of the underground

* And you can send me dead flowers every morning

* Send me dead flowers by the US mail

* Say it with dead flowers at my wedding

* And I won't forget to put roses on your grave

* No, I won't forget to put roses on your grave

I can play the songs that I was a fan of before I joined

and I can add my bit of authenticity

to try and repeat but just update a little bit

some of the riffs that I loved

that Mick Taylor played, for instance, and Brian even.

But I like to keep the tradition of the Stones going,

especially in small clubs.

That's where people long to see them. I know I would.

The Marquee Club, I think,

was the first place I played with the Stones,

and this was in, oh, Christ, back in the '70s sometime.

We did, I think, was it the Roundhouse?

Was that a fairly small place?

Yeah, I played there with them too.

But the energy is always there, but it does seem to become

a little bit more concentrated, a little more focused.

Everybody seems to turn the pages back a few years

and you get back into that club thing,

because the people are just right there,

everything's right there.

* Oh, yeah

* Oh, yeah

* From San Jose down to Santa Fe

To me there's a lot more electricity. I mean, I'm up.

* Ooh

* Ooh

* Ooh

* Ooh

* Yeah And a storm is threatening

* My very life today

* If I don't get some shelter

* Oh, I'm gonna fade away

* War, children

* It's just a shot away It's just a shot away

* War, children

* It's just a shot away It's just a shot away

There's something...

We used to do this all the time in much smaller places and...

There's just something about that immediacy that you get.

Thank you!

Charlie! Charlie! Charlie!

Charlie! Charlie! Charlie! Charlie! Charlie! Charlie!

Charlie! Charlie! Charlie! Charlie!

Charlie! Charlie! Charlie! Charlie! Charlie! Charlie!

That's what I do, I play the drums for Keith and Mick.

I don't play 'em for me.

- We are coming from Florence. - Italy.

Italy. Just to see the show.

Because the Stones don't come in Italy,

so we came where the Stones are.

The thing about the Olympia is that we played...

The Olympia was our first trip to France.

It was very early, 1964,

and we played in the afternoon

and Petula Clark played in the evening.

So I thought it would be a laugh to do it again.

Centre, one, two, three, four, five, six.

It's a bit like when you go back to your old house

that you were brought up in.

It's much smaller than I remember it,

and not just the dressing room.

I was sitting in the balcony during the sound check

and it looked like setting up for the high-school dance.

They were about the same distance. It looked like a gym.

It's pretty cool.

How'd you get three motorcyclists to escort you in?

Luck.

My guy just turned in there

cos we didn't wanna stand on the line out front.

It's the way my life is. It's great.

They get a rapport going with the audience

that's different than what's happening in the stadium shows,

and I think that that intimacy comes through on the tape.

* It's the honky tonk women

* Gimme, gimme, gimme the honky tonk blues

And seeing the Rolling Stones in a venue like this,

I don't think you can see the Rolling Stones

in a better place or get close to 'em.

Good evening, Paris.

Welcome to L'Olympia.

What are we going to do?

OK, You Got Me Rocking. You ready, Chuck?

One, two! One, two, three!

Come on!

* I was a butcher cutting up meat

* My hands were bloody I'm dying on my feet

* I was a surgeon till I start to shake

* I was a-falling until you put on the brakes

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

* I was a pitcher down in a slump

* I was a fighter waiting for a sucker punch

* Feeling bad I guess I lost my springs

* I was the boxer who can't get in the ring

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

* Hey, hey You got me rocking now

*

* I was a hooker losing her looks

* I was a writer Can't write another book

* I was all dried up Dying to get wet

* I was a tycoon drowning in debt

* Hey, hey You got me rocking now

* You got me rocking now

* You got me rocking now

* You got me rocking now

* You got me rocking now

* You got me rocking now

* Hey, hey You got me rocking

* Hey, hey You got me, you got me

* You got me rocking now

* You got me rocking now

All right!

What I was asked to do by Mick was to produce something

that would work in the very small theatre

that we were gonna be playing

and that was reminiscent of a thing that was done in Amsterdam

when they played the Paradiso,

where they had a whole lot of leopard-skin print shirt fabric

that had been brought in and swagged everywhere.

So what I did was to start with that

and did some sketches which Mick's seen

and essentially they're what's out there now,

and it's all hand-painted.

It's not quite real leopard skin,

it's very loose, it's very rough and it's very strong,

and what it produces is a kind of slightly decadent feeling.

If we're gonna do it, then, you know, we should look special

so that the people will come and see...

as if we were doing a tour of theatres now.

We wouldn't just do it, like, "Oh, well...",

move in and just take whatever's there.

And also we'd done a bit in this club, the Paradiso,

for television, so we could continue that theme a bit.

* You whipped me I'm hurting

* Abused me for certain

* And slavery should not exist

* Is this what I get? A poison kiss

* Without you I'm dead meat

* I'm a raggedy dog Dying in the street

* Of a God-forsaken shanty town

* Where gangs of children are hunted down

* I go wild when you're in my face

* I go wild when I taste your taste

* I go wild I go insane

* I get sick Somebody stop this pain

* You left me I'm braindead

* I'm feeling nothing Strapped to my bed

* On life support Tubes in my nose

* Tubes in my arms Shot full of holes

* I go wild when you're in my face

* I go wild when I taste your taste

* I go wild Act like a goat

* I get sick Lumps in my throat

* I go wild

* I go wild

* I go crazy I go insane

* I get sick Somebody stop this pain

* And the doctors say you'll be OK

* And if you'd only stay away

* From femme fatales and dirty bitches

* And daylight drabs and night-time witches

* And working girls and blue stockings

* And dancehall babes and body poppers

* And waitresses with broken noses

* Checkout girls striking poses

* Politicians' garish wives With alcoholic cunts like...

* I go wild

* I go wild

All right.

* I go wild

* Girls

* And I go wild

* Yeah, that's what I said

* And I go wild

* Oh, yeah

* And I go wild

* All right, all right

* And I go wild

* Yeah, I said

* And I go wild

*

*

* Oh, yeah! Oh, yeah! Oh, yeah!

* I go wild

* Right on!

* I go wild

* I go wild

* I go wild

Come on!

You can keep God out of the band, you know.

I mean, there's no weather to worry about.

I mean, it's like every other...

We do the other gigs, the big ones, it's...

there's that guy joining the band every night

in one form or another.

Sometimes he's benign and he's cool

and other times he turns up in wind or rain or whatever,

lightning and thunder.

So it's nice to have a controlled environment.

Slipped on the stage the other night when we were playing.

Because of the rain, we were in a different position on stage.

I turned around to walk off stage

and walked right through a monitor speaker,

landed flat on my saxophone.

Hurt my knee.

Yeah, it's my golf knee.

Here I am ready to go to St Andrews tomorrow,

the Mecca of golfdom...

...and I can't walk.

This is not good ironic.

Anyway... It's ironic it ain't good, is what the deal is.

You gonna get out there anyway?

Hell, yes.

If I have to sit in a chair, I'll just putt, I'm gonna putt.

* Saw you stretched out in room 1009

* With a smile on your face and the tears right in your eye

* Could not see to get a line on you

* My sweet honey love

* Berber jewellery jangling down the street

* Make your bloodshot eyes at every woman that you meet

* Could not seem to get a high on you

* My sweet honey love

* Hey!

* May the good Lord shine a light on you

* Make every song you sing your favourite tune

* May the good Lord shine a light on you

* Warm like the evening sun

* And you're drunk in the alley With your clothes all torn

* And your late-night friends who leave you

* In the cold grey dawn

* Just seemed too many flies on you

* I just can't brush 'em off

* And the angels beating all their wings in time

* With a smile right on their face

* And a gleam right in their eye

* Could not seem to get a high on you

* Come on up, now Come on up, now

* Come on, now

* May the good Lord shine a light on you

* Make every song you sing your favourite tune

* May the good Lord shine a light on you

* Warm like the evening sun

* Hey

* Come on up, now Come on up, now

* Come on up, now Come on up

* May the good Lord shine a light on you

* Make every song you sing your favourite tune

* May the good Lord shine a light on you

* Warm like the evening sun

* Hey

* May the good Lord shine a light on you

* Make every song you sing your favourite tune

* May the good Lord shine a light on you

* Warm like the evening sun

* Oh, yeah

* Oh, yeah

Come on.

Are you conscious of individual people out there

or is it just like this kind of giant animal

that you have to...?

It's both things. It's a giant animal.

Tonight it's not really a giant animal. It's quite small, so...

But I do make contact with individual people.

Yeah, I think it's always good because you're focused.

I also do groups.

I do weddings. I do fun... But I also do groups.

Because quite often there's a gang

and you can treat them like a gang.

It's like a little knot of five people.

What if you've got your friends or your family?

Are you conscious of individual...?

That's always a bit of a problem.

I don't like to see friends, family very much.

It's just that you know them so well,

you can't be, you know, so daft.

I've got Jack Nicholson. Surprise.

You know, I told her no matter what kind of shape you're in,

I'm sure you're gonna wanna see me, love.

Definitely the man I want to see, dear.

- How are you? - Gorgeous.

Sorry I missed you last night by a minute.

A minute, yeah. I just got...

In the Olympia,

I could see Jack Nicholson up there.

More or less leading the crowd on,

like, "Everybody, they're playing my song, Jumping Jack."

* I was born in a crossfire hurricane

* And I howled at my ma in the driving rain

* But it's... It's all right

* In fact it's a gas

* But it's... It's all right

* I'm Jumpin' Jack Flash It's a gas, gas, gas

* I was raised by a toothless, bearded hag

* I was schooled with straps right across my back

* But it's... It's all right

* In fact it's a gas

* But it's... It's all right

* I'm Jumpin' Jack Flash It's a gas, gas, gas

* Yeah

* I was drowned

* I was washed up and left for dead

* I fell down to my feet and I saw they bled

* And I frowned at the crumbs of a crust of bread

* I was crowned with spikes right through my head

* But it's... It's all right

* In fact it's a gas

* But it's... It's all right

* I'm Jumpin' Jack Flash It's a gas, gas, gas

Come on.

* Oh, yeah

* Come on, baby

* Oh, yeah Jumpin' Jack Flash

* Jumpin' Jack Flash

* Jumpin' Jack Flash

* Jumpin' Jack Flash

* Jumpin' Jack Flash

*

* Jumpin' Jack Flash

*

* Jumpin' Jack Flash

*

* Jumpin' Jack Flash

*

*

* Come on, Jack

* Oh, yeah

* Jumpin' Jack Flash

* All right!

* Oh, yeah!

It's cold, innit?

There was about six I would have done again.

Jack, how'd you like it?

Great.

It was a great show, it really was,

but we have to load out now and...

We hope you enjoyed it. Ciao.

- How'd it go? - It was fine.

Do you know what's going on tonight?

Yeah, a Rolling Stones concert.

Well, I think Stones, it goes with the flow, you know,

because all from the ground, organic, yeah,

money spending, money earning, and that's it.

Me, Bandit, chilling out in Brixton, South London.

* I've been holding out so long I've been sleeping all alone

* Lord, I miss you

Do you know the Stones are on tonight?

The Stones? Oh, yeah, definitely.

- There's one there going. - Yeah?

* I wanna kiss you

They're gonna be at the Academy tonight?

- That's right, yeah. - Oh, that's madness.

* Oh, baby, why you wait so long?

How long have you been queuing here?

- Well, ten hours. - Ten hours?

Yeah.

* Why you wait so long?

I'm sitting here because I'm waiting for the Stones.

* Come on!

One of my ambitions is to see the Rolling Stones live

and also to meet them and to get their autographs,

cos I collect autographs as a hobby.

What's happening here tonight?

The big Stones concert tonight.

- You're going? - I certainly am, yeah.

Getting me hair cut ready for it.

Brixton's been so alive

since they knew the Stones were coming here, it's unbelievable.

I've had so many people asking me where they can get tickets

and if I can do 'em any favours and anything, "Well, sorry."

Well, this is the... This is the Brixton Academy.

Very nice.

And I wanna tell you, you sold it out, as well.

The Rolling Stones sold it out, so that's a good report, innit?

That's very good, very good, JC.

Good afternoon.

* You go and I come with you, little baby

* You go and I come with you, little baby

* You go and I come with you

* You bet your life that I can't quit you

* You go and I come with you, little baby

Have you ever played here before, the Brixton Academy?

Not unless it was called something else.

And the other place was the Hammersmith Odeon,

which we were gonna do, and I thought that'd be great,

but then it's been so tarted up now since we used to play,

so we decided to do the Brixton Academy,

which is a bit like how the Hammersmith Odeon was.

* You go and I come with you, little baby

The big difference is obviously the size of it,

but the atmosphere that you get in a small venue for the band

is... there's no comparison.

You can't achieve the same atmosphere

when you're playing in a stadium,

and that's what we try and do

with a big show and all the effects.

When we come into a smaller show like this,

the band do all the work.

There's no effects, there's no pyrotechnics,

there's no big black wall,

so it's the band and the audience,

and that's what makes the real difference in a small venue.

One, two, three, four!

One more time, one more time.

All right, here we go.

* I...

* Oh, I...

They started without me.

* Oh, I...

*

* I can fly just like a bird up in the sky

*

* I can buy anything Anything money can buy

*

* I can build a castle from a single grain of sand

* I can make a ship sail

* Right upon Right upon the dry land

* Listen to me now

* Out of all this power that I possess

* You're the key to my happiness

* Cos I can't get next to you, baby

* Can't get next to you

* Can't get next to you, baby, baby

* Can't get next to you

* Can't get next to you, baby

* Can't get next to you

* Can't get next to you, baby

* Can't get next to you Come on.

*

*

*

*

* Can't get next to you, baby

* Can't get next to you

* Can't get next to you, baby

* Can't get next to you

* Can't get next to you, baby

* Can't get next to you

* Can't get next to you, baby

* Can't get next to you

What's your location, Beth?

I'm by the workout.

Thank you very much.

You know where the party is.

All right? All right? How you doing?

Yeah, if I get an idea...

I hope, yeah.

* I met a gin-soaked, bar-room queen in Memphis

* She tried to take me upstairs for a ride

* She had to heave me right across her shoulders

* I just don't seem to drink you off my mind

* It's the honky tonk women

* Gimme, gimme, gimme the honky tonk blues

A lot of times when you work in stadiums,

which the Rolling Stones do,

you can't make these other songs that you've done on records

work for a stadium.

They just either... they're not big enough, well-known enough,

or the approach of them is wrong.

But when you're playing in a small place,

you can do more or less anything.

* As I was driving home early one Sunday morning

* Through Bakersfield, California

* Listening to music on the coloured radio station

* The preacher said You know you always have

* The Lord by your side

* I was real pleased to be informed of this

* I ran 20 red lights in his honour

* Thank you, Jesus

* Thank you, Lord

* I had an arrangement to meet a girl

* And I was kind of late

* And I thought by the time I got there

* She'd be off with the nearest truck driver she could find

* And much to my surprise

* There she was standin' in the corner

* Was a girl

* With far away eyes

* I wanna tell you

* So if you're down on your luck

* I know you all sympathise

* Get a girl

* With far away eyes

* And if you're downright disgusted

* And life ain't worth a dime

* Get a girl

* With far away eyes

* Yeah All right, Ronnie!

* Yeah, the preacher went right on saying

* That all I had to do was send ten dollars

* To the church of the Sacred Bleeding Heart of Jesus

* Located somewhere in Los Angeles, California

* And next week they'd say my prayer on the radio

* And all my dreams would come true

* So I did

* And next week I got a prayer

* For the girl

* Well, you know what kind of eyes she got

* I wanna tell you

* So if you're down on your luck

* I know you all sympathise

* Get a girl

* With far away eyes

* And if you're downright disgusted

* And life ain't worth a dime

* Get a girl

* With far away eyes

All right!

* So if you're down on your luck

* I know you all sympathise

* Get a girl

* With far away eyes

One more time!

* And if you're downright disgusted

* And life ain't worth a dime

* Get a girl

* With far away eyes

There's no bells and whistles.

There's certainly a minimal amount of bells and whistles

when you do these kind of dates.

And you have to do what you did again in the beginning,

you have to be a band and play

and concentrate on the blues or the shuffles,

or whatever it is that you're playing.

And I think there's... it gives, for instance, Mick

more of a chance to play some harmonica.

I think it makes everyone,

including all of us on the periphery,

it feels more like a unit, more like a band,

and it's just a thrill to play a theatre or a club.

It's a completely different thing,

a completely different attitude than the big stage.

I don't think Mick has to worry so much

about what move he's gonna make

or where he has to be on the stage,

if it's 200 yards away down the ramp.

All of that is taken away and all he has to worry about

is singing and playing and having a good time.

And stop!

You'll never stop him entertaining,

cos that's what he is, it's what he does.

* Yeah, once upon a time you dressed so fine

* Threw the bums a dime in your prime

* Didn't you?

* Yeah, people'd call Say beware, doll

* You're bound to fall

* They thought that they were just kiddin' you

* You used to laugh about

*Everybody that was hangin' out

* And now you don't walk so proud

* Now you don't talk so loud

* About having to be scrounging

* Your next meal

* How does it feel?

* How does it feel?

* To be on your own

* With no direction home

* A complete unknown

* Just like a rolling stone

I was trying to push to do this number for a little while

just because I always liked the song,

plus the title, so...

Every time you're driving along and hear it on the radio,

it would be very vibrant,

and I thought, "This could be done. We should do this."

"We can get away with this."

Because of the title of the song

and cos it is a really good song.

* You're gonna have to get used to it

* You say you never compromise

Well, always loved the song

and if it hadn't have been called Like A Rolling Stone,

probably we'd have cut it years ago,

because it's a lovely song to play.

I guess we needed that much space

between when Bob wrote it and now

to sort of have the balls to do it

or feel that it wasn't some gratuitous connection,

that it was just a great song

and now, you know, old enough and ugly enough

to be able to play it without it feeling like you're doing a Bob.

* With no direction home

* A complete unknown

* Just like a rolling stone

Come on!

* Yeah, the princess on the steeple

* And all the pretty people Drinkin', thinkin' that they...

* Got it made

* Exchanging all kinds of precious gifts

* We're gonna take that diamond ring

* You'd better pawn it, babe

* You used to be so amused

* At Napoleon in rags It was the language that he used

* Now go to him now he calls you

* You can't refuse

* But when you got nothing You got nothing to lose

* You're invisible now

* You got no secrets to conceal

* How does it feel?

* How does it feel?

* To be on your own

* With no direction home

* A complete unknown

* Just like a rolling stone

Come on!

Thank you, Bob!

The incredible thing about them now

is that I think they're a better band now than they've ever been.

I mean, having seen 'em in the '60s, '70s and '80s,

they really play better.

They're all better at their individual crafts

and as a unit there's 30 years of intuitive interplay

that just happens automatically.

What did you think of the concert?

Magic. What can you say?

Rock 'n' roll.

It was very, very... It was very, very good.

Here's the aftermath of the Rolling Stones in London.

The final show. I mean, the best show,

that any of the audience would have liked to have seen.

The atmosphere's been electric all night.

And we're on our way now to the next big show.

This is the last of the small shows on the tour, it's been...

- Blah, blah, blah, blah. - Blah, blah, blah, blah, blah.

Sorry about that.

- As good as ever. - The best.

I've been seeing them since I was 16

and they're better than ever.

- Have you had a good night out?- Brilliant night.

Couldn't have been better. Couldn't have been better.

Absolutely fantastic. Nothing like it. Brilliant.

Let's rock 'n' roll forever. Brilliant.

Greatest rock 'n' roll band in history, man. Outrageous.

It's a gas, gas.

- Wow. - Brilliant.

- Bang on. - Number one.

Amazing.

Pure magic. Pure magic.

- Did you enjoy it? - Brilliant!

- Absolutely brilliant! - Brilliant!

Every time I've had a conversation,

I've had these cameras around me.

I know.

I'm fed up with these... cameras,

and so it's lights out from me and you.