1968 when I was working at CBS where I had been working on four albums at one time, and I finished them. And I was ready to go berserk. I really needed a vacation. So my wife at the time suggested that we go to London because it was a great place to shop, me for records and clothes and her for clothes. And uh, so I thought this was a great idea. So I called up a friend of mine from the music business in England, and I said, we're coming to England on Thursday, don't tell anyone and could you pick us up at the airport. And he said, your secret is safe with me. And we flew to London, he picked us up at the airport, and he said, you know the Stones office called me, and they're interested in you playing on a session. And I went, oh God, I don't want to see a studio. I don't want to see a recording studio. The Rolling Stones, what a horrible time to call me. And I said, well, I'll just ignore it. Because I don't want to do anything that has to do with recording. I want to buy some shirts and records, that's what I want to do. So the next day, I was walking down the King's Road, where one would shop, the Melrose of London at the time, and I walk right into Brian Jones. Oh, Al, I'm so excited you're going to play on the record, it's really great that you're here and everything. And I went, oh, he's embarrassing me into it. I have to do the one night at least. So I said, uh, well, when and where is it, Brian? He said, oh, it's tonight at, you know, Olympic Studios and uh, we'll pick you up. And I said, okay, all right then. I went back to the hotel, I was really bummed. It's the last thing in the world I wanted to do was be in a recording studio. Even if it was the Rolling Stones, that's how burned out I was. So at 8 o'clock, the phone rings. And it was, hello, it's Mick, we're down in the lobby. And I went, this is wild. I thought they were going to pick me up, they'd send a car. No. It's Mick Jagger and Keith Richard waiting in the lobby for me. This, nice touch. This is good, I like this, I'm starting to like this. And then we, uh, I go downstairs and get in the car and they're playing, uh, uh, "The Natch'l Blues" Taj Mahal album on the car stereo, which I played on. So I liked that too, good touch. And we get to the studio, and it's, uh, it's really fun. It's comfortable and fun, and I'm having a great time. And I'm going, this is great. This is like a vacation. This isn't like work at all. And uh, what they did is they passed out like acoustic guitars, and uh, and uh, and Mick and Keith played the song to everybody, and then everybody played along until they understood the chord changes and everything, which is a great way to do it. And uh, then everyone went to their respective instruments. And uh, the song called for uh, uh, this part that I had, there was a record I loved at the time which was a Muscle Shoals recording of Etta James covering Sonny and Cher's record of "I Got You Babe." And her record was like uh, uh -- [plays organ and sings] So I loved that groove. So I thought that fit their record really good. So when we were running it down, when it would come to that point in their record, I'd play that on the piano, which was what I was playing on the basic track. And everybody jumped right into that groove, which was great. And uh, I didn't say anything about where I stole it from or anything like that. But it just fit the song really well. And uh, and then it was like time to eat, and this van pulled up and these guys brought out like these tables of like lamb chops and steaks and curries and vegetables, I mean, just a feast, a catered feast, another great idea for the studio. Even on a Dylan session you had to call the drugstores for cheeseburgers. So I like this session. I'm having a good time here. So then, uh, I, uh, I overdubbed the organ after we got the basic track. So I had played the piano and organ on it. And I was having, like I say I was having a great time. And I thought, boy, if they had the horns like they had on that Etta James record, this would really be killer. So I said to Mick Jagger, I said, if you ever decide to put horns on this, let me know, because I've got some great parts that would be great for it. And he says, okay. And uh, the next night, I played on a version of "Memo From Turner" that the Stones did, that might have been on the "Flowers" album, if my memory serves me well. And I think I played guitar. Uh, and that was it. And uh, and uh, a year later. I was back where, I was working at CBS, and my secretary comes in and says, uh, someone claiming to be Mick Jagger is on the phone. And I said, well, it probably is Mick Jagger. Hullo, Al, remember you said you wanted to put horns on that track we cut back then, you remember that track. I said, barely. He said, well, I want to send you the track and put those horns on it. So, I thought, okay. Good, I'm surprised you remembered. So he sent me the tape and I wanted to do it in such a way that I didn't have to charge him for it. Which is just the way my mind worked. So I was doing a horn session for my album at CBS in about three nights. So I wrote the arrangement for the Stones thing, and I smuggled the Stones tape into the CBS library and put the number of my project on the spine of the tape box, really taking a chance. And so they brought all the tapes to the session and there was the Stones tape and nobody was the wiser. And I put the horns on and it was a particularly bad night. The horn players did not understand what I was going for and they didn't really play well. And the only thing that really was good was the beginning, which was the French horn part. And uh, because Mick Jagger has great taste, all he kept was the French horn part, which is great. And uh, they, he never mentioned it, just threw the horns out, kept the French horn part, and then they put all those voices on it. "You Can't Always Get What You Want" is the track I'm talking about. And then when the single came out, they give me credit on the actual single, which also was a really nice touch, not normally done. And uh, so all in all that was a great experience. I played with them again at Keith's birthday party in England. I happened to be in town. They had it at Olympic Studios, and they set up in the middle of the party and played. And uh, Eric Clapton played along with them, and so did I, and Bobby Keyes. And they cut a version of "Brown Sugar" which I understand is on some bootlegs, which I don't have. And uh, I think that was it in terms of recording with them. But I've gone and visited sessions of their's and we've remained really good friends over the years. And uh, they're always very nice to me and I really appreciate that, they're good guys.