This track was meant to part of Beggar’s Banquet Sessions Pt. 1

Quotes and Excerpts from Blown Away by A. E. Hotchner Pub. 1990
Edited by Flip.

SALLY ARNOLD (Stones’ employee): “The times I sat in on Mick and Keith composing occurred late at night on tour after a concert. The first thing they’d do is listen to that night’s concert, which had been taped, and they’d analyze it and discuss it, sometimes putting in one song for another, or rearranging the order. They’d smoke some dope and then begin to play a few chords and such on their guitars. Maybe throw a couple of words at each other, phrases, Keith would start a riff and they’d build on it. I remember one night we were traveling by train, and I was in a compartment with them when they were jamming together and a tune just started to come out of it. They had started with some old blues stuff, some blues chords, and then they’d sort of slid off on their own and they really seemed to have fun building on it.”

Excerpt from Victor Bockris’ book Keith Richards The Biography, Pub.
1992. Edited by Flip.

Free from having to produce their own albums and from the domination of Brian, Jagger and Richards ascended to new creative heights. For the first time they had the luxury of writing and recording for months without the interruption of a tour. The relative harmony between Anita and Marianne further supported the collaboration. Meeting in Mick’s flat in London or at Redlands, Mick and Keith spent days playing old blues numbers until they segued into something of their own. Keith would monotonously strum a refrain over and over again, sometimes wailing in-
comprehensible sounds that only Jagger could translate, until – often after many hours or days – they were singing “Stray Cat Blues” or “Salt Of The Earth.”
Anita Pallenberg: “Writing together was the strongest thing Keith and Mick had going. Keith didn’t know what he was saying but Mick could interpret it.”
Keith Richards: “I consider myself to be more a record maker than a guitar player. Guitar happens to be my tool to make records. I think the rest of the band were kind of intrigued – ‘What’s he comin’ up with by these tunings?’ So they stayed out to give me a little air, you know, ‘I want to do eight overdubs here, and over here I want to layer this thing.’ “
From Jimmy Miller’s viewpoint as producer, the record became Keith’s
showcase as he played every rhythm and lead part, overdubbing acoustics
into tape recorders, experimenting every day with new effects.