You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.
But that is a valid, continuing service that that music - which is, in some cases, 80 or 90 years old - is rendering. And proving its own timelessness.
I think actors are at the mercy of the opportunities presented to them. So you kind of have to wait for them to choose you. My music is insular - I can choose that.
Because of the fashion, the young people don't have any access to the history of music, unless people like me revive it. There are very few people to revive it, because you can't earn any money doing it.
I didn't want to stay in the Stones, and be stuck in a position having to play a music I didn't like anymore and that restricted me from doing all the others things I'm interested in because of time.
I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
I play music a lot but on my own mostly, so it was nice to be around other people. There was a certain sense a relief in the physical act of just playing and being with other musicians.
