Fig.3. The third lick reaches back to Keith's Chuck Berry-influenced R&B roots. This aggressive phrase recalls the lead-rhythm approach popularized by Berry in the 1950s and exploited often on 1960s Rolling Stones albums, particularly in Keith's solo breaks. The lick is played over a fast rocking blues progression in G. It contains characteristic dyads (two-note chords) and bent double stops. The riff in the first four bars is a typical pattern employing hammer ons to approach the third (B note) of the G chord in a thoroughly blues-approved maneuver.