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.

It's meant to reaffirm the validity of that music - clean, minimalist, honest, classic music.

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 always listen to a lot of different music when I am working on a project.

But why is it that in music, anything more than 5 years old - apart from a few hits - is never played on radio to the young public?

With the Rhythm Kings, I can involve myself in arranging and producing the music as well as the choice of songs.

I was listening to music long before rock 'n roll.

I've messed myself up more playing music than when I played football.

Since day one my thing has always been to play the music.

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.

Anybody who thinks pop music's easy should try to make a pop single and find out that it isn't.

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.