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“I had worked on She’s The Boss for nine months. I hadn’t even gotten back home to LA yet. I was at a hotel in New York, waiting for a car to take me to the airport, and I got a call from Mick asking me if I wanted to go to Paris to work with the Stones. I had to call my wife and tell her I wasn’t coming home.
“Mick met me at the hotel in Paris, and he took me to the studio. Keith was already there with a bunch of people. He took one look at me and said, ‘I don’t like you. I’m not gonna like you. Fuck you. You’re in the deep end now, motherfucker!’ [Laughs] That was my introduction to the Stones.
“Basically, Keith was pissed at Mick, and he was mad that Mick would bring me into their record. Four days later, though, Keith was hugging me – he liked the guitar tones I got. ‘Welcome aboard, mate,’ he said. After that, he was great to me.
“During the whole record, there was tension between Mick and Keith. They didn’t want to be in the studio together, so Mick would work his hours and Keith would work his hours. After we took a break, Steve Lillywhite came in as producer. He was great to work with, a really cool guy. He was under a lot of pressure, but he handled everything beautifully.
“It was a tough record, and it took a year to make. You had to walk on eggshells sometimes. There was one incident where Keith blew up at me because I’d been hanging out with Mick. Mick wasn’t like that; he wasn’t jealous or anything like that. I really saw their differences while making this record: Keith is the artist. He lives and breathes rock ‘n’ roll and guitars. Mick is more of a businessman. He’s very down to earth, though; he’s not a dilettante.
“Everybody in the Stones organization thought that the band was through. I was like, ‘Oh, great. I wait my whole life to work with The Rolling Stones, and my name will be on the record they broke up over.’”