"We had to fight to put that one out but eventually everybody got it": Keith Richards picks the Rolling Stones album he'd play to a 14-year-old just getting into rock music

Keith Richards onstage at Glastonbury, 2013
(Image credit: Dave J Hogan/Getty Images)

In 2014 Classic Rock Magazine published its 200th issue and set itself a herculean task: a double-size, bumper issue containing 200 interviews with 200 different musicians. Of course, no such undertaking would be complete without Keith Richards, the seemingly invincible Rolling Stones guitarist.


Do you remember a time very early on when you thought, “This is it, we can actually do this…”?

That’s difficult, but the first time was when I got into a recording studio – that was like entering the portals of Heaven and it grew from there. But after Satisfaction, we all felt we had a chance of a career.

You may like

There was no career path for young bands like the Stones or The Beatles. You were just winging it?

Winging it is the right description, and making it look like you knew what you were doing. That includes everybody, like promoters. You made it up as you went along.

Looking at documentary footage of your early shows, they were chaotic. At the disastrous Altamont festival in ’69, fans, Hells Angels and even a dog were on the stage at some points. This was all very amateurish in reflection.

Ramshackle, man. That show was thrown together by the Grateful Dead because we had no experience of that and it was their speciality. So we arrived and thought, "This is the way it’s done."

But would never be done that way again?

Oh no, I draw a line there, man.

Keith Richards on stage during the Rolling Stones' 1975 Tour of the Americas

(Image credit: Simon Sykes/Hulton Archive/Getty Images)

You and Mick have written some of the most enduring rock songs of the past many decades. But do you not cross paths often enough to continue the writing process today?

We absolutely do. We always have some work on the go and it’s about getting off the hiatus and back in the studio.

So do you write and record at home regularly but just leave all the songs on the shelf?

It all happen in dribs and drabs really. When Mick and I are on the road, we put ideas together and one thing leads to another. Playing live gives songwriting and recording more impetus, so I’m hoping we can come out with something great over the next few months.

For your fiftieth anniversary, you brought back guitarist Mick Taylor. How did that come about?

Everyone was going on about the fiftieth anniversary and we thought, well, there’s still a couple of Stones around who might want to join in. [Former bassist] Bill Wyman did some gigs in London along with Mick Taylor, but dropped out because he doesn’t like flying. So we said to Mick: “Do you want to continue?” and he said: “Yeah.” Ronnie [Wood] and I have a great time because now there are three guitars, and that gives us a bit more room to manoeuvre. That’s much more fun.

Does it surprise you that everybody is still keen to play?

I never doubt it. It’s finding everybody in the right mood at the same time. I catch them when I can and I’m the one who’s up for it. I’m always up for it, they can count on me.

A setlist for the Stones has to accommodate what an audience might want, but you still pull odd songs in.

One of the things that has cropped up during the tour this time has been throwing things in, or even asking for requests. I like to keep it as free and open as possible and we never stick to a totally fixed set anyway. I like to leave as much room as possible for experiment. Nothing in rock’n’roll has to be nailed down.

Where once audiences would come on the basis of the Stones’ notoriety, these days you capture a broad demographic drawn for the music and sense of the event.

I think we just carried the generation along with us and some of the younger ones still pick it up. It’s hard to put your finger on it. You expect to be rejected by the next generation because that’s what they do. But there seems to be some thread in what we do that busts through all that.

If you had to point to any album to explain the Stones to a 14-year-old who is getting into rock music, which one would you choose?

I’d say Exile On Main Street, mainly because it’s a double album so there’s more range on it. But it also is the pointer.

The one that at the time people said was poorly recorded but is the one which has risen to the top?

Yeah, it’s amazing. We had to fight to put that one out but eventually everybody got it.

And now everyone has a copy. Their Satanic Majesties has had a bit of a resurgence for young people, possibly because for them it’s removed from the context of its time and so they’re just hearing the experimental quality of the songs. Does that surprise you?

It does a bit because it’s always been an oddball album in the whole line-up, probably because of some of that acid. But over the last year or so we’ve noticed a lot of interest in that album too. I’m not sure we’d put it on our list of favourites, but there are moments on it which stand out: She’s A Rainbow, 2000 Light Years From Home.

The Rolling Stones - 2000 Light Years From Home (Official Music Video) - YouTube The Rolling Stones - 2000 Light Years From Home (Official Music Video) - YouTube
Watch On

Do you ever listen to your old records?

Oh yeah, I do. If I hear the Stones it’s usually on the radio and by accident, but sometimes it makes me go back and listen to something I haven’t heard for a while. When we’re rehearsing we listen to just about everything we’ve ever recorded in order to find out how we originally played it, and to pick the essence out of it.

It’s a long history and I guess you do need to remind yourself of it from time to time.

Oh yeah, you need a reminder of some of the more obscure tracks.

You’re a history buff. Have you read anything especially interesting lately?

Somebody gave me Max Hastings’s latest book, about 1914 [2013's Catastrophe: Europe Goes to War 1914]. There’s some interesting stuff in there about how the First World War built up, and who screwed up first. Catastrophe is what it’s called, which I thought was a great album title.

Or a lifestyle.

[Laughs] Yeah, tell me about it.

If you were to give out advice, what would you say a young musician just starting out needs?

Perseverance. If you really want to do it and you hit brick walls, just dust yourself off and keep going.

As you’ve done, even after that holiday in Fiji in 2006 when you slipped from a tree just days after playing in Auckland.

I came right back to Auckland. Dr Andrew Law saved my bacon.

While you were having neurosurgery, I was asked to write your obituary, just in case.

Put that on the backburner for a while.

In it, I quoted something that Charlie Watts once said about you, which I always liked: "There’s something about music that likes being around Keith."

Oh, bless him. I’ll wear it like a cloak.

Graham Reid

Graham Reid is an award-winning New Zealand journalist, author, broadcaster, and arts educator. His music and film reviews have appeared in The New Zealand Herald since the late 1980s. His website, Elsewhere, provides features and reports on music, film, travel and other cultural issues. He is the author of two travel books, and has written for Billboard, The ListenerThe AustralianMetroArt News, Real Groove, Idealog, Audioculture, Life & Leisure and Weekend. 

Read more
The Rolling Stones pose during the production of their music video for 'It's Only Rock 'n Roll (But I Like It)' in June 1974 in London, England. The video was directed by Michael Lindsay-Hogg. From left to right, Mick Taylor, Mick Jagger, Keith Richards, Charlie Watts and Bill Wyman.
"We'd be up for days drinking, getting stoned and making music": How the Rolling Stones channelled chaos to make the final album with their most potent line-up
Jimmy Page studio portrait
"We just went in and just destroyed San Francisco, and that was it": Jimmy Page on Led Zeppelin's historic arrival in America
Ronnie Wood posing for a photograph on a couch in 1976
‘John Belushi always used to try to get off with my ex-wife. I’d say: ‘John, I can hear you, you fat git’”: Ronnie Wood’s wild tales of Jimi Hendrix, Keith Richards, Bob Dylan and Axl Rose
Andy Summers
“It’s ludicrous a song like that would go on an album at the height of our fame, but it got the most notice because it was so bizarre”: The Police’s Andy Summers on success, psychedelia and working with difficult people
Mick Jones with guitar - studio portrait
"The Boston Symphony hasn't changed its name, so why should Foreigner?": Mick Jones looks back on 50 often fractious years with one of rock's most successful bands
Billy Gibbons of ZZ Top posing for a photograph in 2024
“There was chicken-wire around the stage. Al Jourgensen was climbing around like a caged beast. I knew this was a guy for me”: Billy Gibbons’ wild tales of Jimi Hendrix, Keith Richards, Muddy Waters and Ministry
Latest in
Linkin Park 2024
Linkin Park launch "the best song we've ever made" Up From The Bottom
Vera Farmiga in 2021
The Conjuring star Vera Farmiga announces debut album with her heavy metal band The Yagas
'Emo' Ed Sheeran busking
Watch Ed Sheeran cover Chappell Roan's Pink Pony Club on the New York subway while disguised as an emo busker
A close-up shot of the Marshall Major IV on-ear headphones on a turquoise, blue and black background.
I’ve never seen the Marshall Major IV headphones this cheap before - get them for half price in Amazon’s big spring sale
Evanescence in 2025
Evanescence release new song Afterlife from Devil May Cry TV series soundtrack, have their next album in the works
Tony Banks
“You only have to hear the opening sweep to reach for your lighter and wave it in the air”: Tony Banks' greatest Genesis moments
Latest in Features
Tony Banks
“You only have to hear the opening sweep to reach for your lighter and wave it in the air”: Tony Banks' greatest Genesis moments
Rick Astley and Rick Wakeman
“Rick Wakeman’s solo albums were just brilliant… when I heard he was doing Henry VIII at Hampton Court Palace, I bought 12 tickets”: Prog is the reason Rick Astley became a singer
Ozzy Osbourne, Paul McCartney, Robert Plant, Jim Morrison and Joe Strummer onstage
The greatest gig I've ever seen: 24 writers pick the most memorable live show of their lives
Marillion in 1984
From debauched prog revivalists to pioneers of the internet age: The Marillion albums you should definitely listen to
Mogwai
“The concept of cool and uncool is completely gone, which is good and bad… people are unashamedly listening to Rick Astley. You’ve got to draw a line somewhere!” Mogwai and the making of prog-curious album The Bad Fire
The Mars Volta
“My totalitarian rule might not be cool, but at least we’ve made interesting records. At least we polarise people”: It took The Mars Volta three years and several arguments to make Noctourniquet