Face it. Bernard Fowler has a better job than you. Not only does he release his own solo work, like his new album, Inside Out, he has also toured the world singing with the Rolling Stones for more than thirty years. He first started working with Mick Jagger on his solo album, She’s the Boss, in 1985. Producer Bill Laswell had told Fowler he had a job for him in London, but didn’t tell him with whom until he got in the same room with Jagger. As he tells me, he was more than surprised. But he aced the job, so when the Stones were getting ready to record Steel Wheels, Fowler got the nod to sing in the studio and on tour. He took charge of his part in the recording, going so far as to tell the guys to stop rolling tape so he could make suggestions. He has been firmly ensconced in that world ever since, touring and recording on Stones albums and solo albums, and writing with Ronnie Wood. As he says, he’s watched their children grow up.

The new album is a tribute to the Stones done in a spoken-word style, which helps brings out the stories in the lyrics. And it’s not just a greatest hits package. He does “Sympathy For the Devil, which you heard on last week’s episode, but other than that, Fowler takes a deeper dive with cuts like “Dancing With Mr. D,” “Sister Morphine,” and “All the Way Down.”

Fowler is happy to report that after his recent heart problems, Jagger is looking pretty spry onstage. And Fowler thinks the Stones are a better band now than they ever have been, and tells me why later in the interview. He says what he’s mainly learned from the band is that if you love what you do, you can do it for a long time, and at a very high level. He also says there are a few songs on the new tour’s set list that might surprise people.

Although it’s obviously a big part of his world, there’s more to Fowler than his work with the Stones. “When I’m not singing for the Rolling Stones,” he says, “in my world, I’m the Mick Jagger.” Over the years, he’s been a part of bands like Tackhead, Nicklebag (that’s “bag,” not “back”), and Little Axe. He’s also done session work on albums by Herbie Hancock, Bootsy Collins, Philip Glass, Duran Duran, Public Image, Ltd., and many others. We even talk about a short stint working with Steven Seagal, which Fowler was not at all happy I brought up, but I do love his reaction to that line of questioning. I spoke to him before a rehearsal with the Stones in London for the new tour, which kicks off this week at Soldier Field in Chicago. You can actually hear him getting his things together to go toward the end, and there are a couple of places where the connection dips a bit, but I hated to lose any of the great stuff Fowler was saying.

You can find him on Facebook Bernard Fowler, on Twitter under @bernardfowler, and on his own site at bernardfowler.com.

This week’s featured track is “Firesmoke” by English spoken word artist, poet, and writer Kate Tempest. This was one of those great surprises I get frequently in my inbox, trying to listen to as much of what people send me as possible. I haven’t featured much spoken word on this podcast in the past, but after this episode, I would love to change that. “Firesmoke” is lovely and sexy, thoughtful and passionate. I won’t tell you much about the lyrics, since you’re about to hear them from someone who knows how to deliver them, but here’s a line. “The night is teeth and pistons, and there is something in this tenderness that makes me want to live.” That’s a line from “Firesmoke” from the new album The Book of Traps and Lessons. You can find more about Tempest at katetempest.co.uk and on Twitter under @katetempest.

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