"Miss You" (The Rolling Stones)

I remember the first time I saw the music video for The Rolling Stones "Miss You" from the 1978 album Some Girls (the last album where they actually tried to make good music, in my humble opinion).  
I believe Casey Kasem was discussing some factoid about the Stones on his syndicated America's Top 10 T.V. show, and "Miss You" was the clip they chose to show before going to commercial.  I was probably about 3 or 4 years old at the time, and the clip was only about 30 seconds long.  But it made quite an impression on me.  There was something about that groove and Jagger singing his ooh-ooh-ooh-ooh-ooh-ooh-ooh vocals to the camera that clicked with my little brain.  
But it wasn't just, "Oh, that's a great song"; it was more like, "Well, I could do that."  
I spent the rest of the afternoon, strutting around the house and ooh-ooh-ooh-ooh-ooh-ooh-ooh-ing until my parents asked me to stop.
Anyway, I'd always known that "Miss You" was a by-product of Jagger spending many semi-lucid hours at New York's Studio 54, absorbing the sound and attitude of disco.  But I only recently learned that, although Keith Richards is credited with co-writing the song, he really had nothing to do with it.
In a 1995 interview with Rolling Stone magazine's Jann Wenner, Jagger notes that he and multi-instrumentalist Billy Preston came up with the song during rehearsals in Toronto while Richards was awaiting trial on drug charges.
Says Jagger, "Yeah, Billy had shown me the four-on-the-floor bass-drum part, and I would just play the guitar.  I remember playing that in the El Mocambo club when Keith was on trial in Toronto for whatever he was doing.  We were supposed to be there making this live record."
Preston also came up with the song's strutting bassline, which Bill Wyman then reshaped in his own Stonesian image.
And while the bass really is what grabs me, Sugar Blue's harmonica is what puts the track right over the top.  It's a gorgeous, soulful chunk of bluesy grit that keeps the whole affair from getting too glossy and slick.  Kind of a little reminder that, while Studio 54 might have been the height of toot and glam, the real New York of 1978 was a funky, brutalist shit show.