I understand from a semi-reliable source, that she, not Yoko was the love of John Lennon’s life. The reason that they never consummated their relationship was because Ronnie insisted that they respect each other’s partners and she did not want sex before marriage.

Keith Richards was smitten with her from 1964 when The Stones supported The Ronettes on tour. “Keith always sends me flowers” said Ronnie. And don’t forget it was Keef who inducted them into the Rock ‘n’ Roll Hall of Fame!

After the horrific marriage that robbed her of her career, Bruce Springsteen and the E Street band were so determined to help Ronnie and get her back on stage, that they played on and produced an album for her. Bruce and Ronnie both guested with Southside Johnny and the Asbury Jukes on a subsequent tour. There is audio available of Ronnie singing on Bruce and The E Street Band’s live cover of “Be My Baby.”

Joey Ramone reportedly wanted to be just like Ronnie, hence The Ramones brilliant cover of “Baby I love You” on which he stays faithful to Ronnie’s phrasing in a heartfelt tribute.

Cher, Margo Price, Joan Jett, Debbie Harry and Susanna Hoffs have all professed their love and admiration. And then, although they never met, Ronnie heard Amy Winehouse namecheck her as the inspiration for her sound and her look. Ronnie’s reaction was that she knew then that her career had been worthwhile.

Damn right Veronica Greenfield was special. We won’t see her like again!

Image ©️Art Zelin as far as I can tell!

If Keef had accepted a knighthood I probably wouldn’t be writing this.

You know all about the Rolling Stones: their age, the corporate sponsorship, hugely ridiculous tours, meagre and poor quality album output, mannered and shouty “singing” from Jagger etc.

It’s all become more than a little embarrassing!

But in 1972, the band were by turns cool, sinister and dangerous. Having fled from the suffocating attentions of the British establishment and survived Altamont, they were holed up in the now legendary Nellcôte villa in Villefranche-sur-Mer. Mick kept his distance of course, living in Paris with new bride Bianca, a move foreshadowing the greater distance to come.

It is often said that the period from ’69 to ’72 saw the Stones release their finest works. The excellent “Let it Bleed” and “Sticky Fingers” were followed by the sleazy “Exile on Main Street.” A sizeable chunk of “Exile” was recorded in the Nellcôte basement accompanied by The Rolling Stones mobile studio, Gram Parsons, William S. Burroughs and a deadly quantity of heroin.

It’s worth pausing to ask: “How bad must Parsons behaviour have been for Keef to tell him to leave?”

In the midst of the debauchery, Richards was ascendant. Jagger’s dilettantism, ennui and frustration at his writing partner’s habits meant that Keef took charge.  And in the dead of night in the basement den, he and Mick Taylor experimented with rhythm, opiates, genre and weaving dual lead guitars into one coherent groove.

This song emerges like smoke from the needle and the spoon, the slinky guitar intro quickly sees Keef settle into one of his most iconic riffs; equal parts swing, blues, swagger and Chuck Berry. But always 100% Rock ‘n’ Roll!

The swing is usually attributed to the Watts/Wyman rhythm section. Except of course the bass here is in Taylor’s accomplished hands and there is debate about who’s on drums. The consensus is that Charlie plays most of it, but the complex, funked up coda is driven by Jimmy Miller, trebling up on his production and partying duties.

I spite of the debate, everyone knows that in this band the rhythm section just follows Keef anyway!

Before we arrive at the coda, we get the crowning moment of the song; Richards’ inimitable, circling lead playing, accompanied by blasts of call and “gotta roll me” response vocals. The drums, bass and piano zone out, leaving this hypnotic hook of a guitar figure standing like the only sentient soul at the party.

Playing all the lead, Keef then peels off a solo. A blistering yet restrained surge, channeling Chuck Berry again. It even sounds like was played on an ES 335 (Google it baka!) despite the vision of that iconic, black ’72 Telecaster custom in our memories and imaginations. Well mine anyway!

The mercurial wizard has said many times though: “Give me any guitar and in five minutes it will just sound like me!”

And so to the vocals. Having thrown some rocks in Jagger’s general direction earlier, this is a great vocal performance. Delivered intravenously into a surging wave of “backing vocals” resulting in sing along voodoo poetry. But Mick has subsequently claimed that “they used the wrong mix” on this track.

Oh just shut it! Clyde King, Vanetta Fields and Keef himself make you sound good!

In a rare moment of humility Jagger does credit the Nellcôte housekeeper for inspiring the lyrics. Their conversation about her love for the “Tumbling Dice” delivers the drawled tale of “rank outsiders” in verses streaming in gambling slang. Everyone has been “at sixes and sevens and nines” at some point?

So do it now, go listen, I’m watching!

Enjoy this thrillingly louche groove and try not to get sucked in to it’s world. If Joe Perry did then your resistance is futile! And if this song doesn’t get you moving, you’re not playing it loud enough. Or you’re already dead!

“Can’t you see the deuce is still wild?”

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