Under the yowls, the important thing is already here: that dry hand percussion setting the song's pace.

Now Jagger steps in politely, almost ceremonially, with "Please allow me to introduce myself."

The Jesus Christ verse starts, and notice how the band doesn't darken the sound; the groove just keeps carrying him.

The first "Pleased to meet you" refrain turns the charm into a test: guess the name, guess the game.

St. Petersburg arrives on the same bright rhythm, so revolution sounds less like a scene change than another stop on the ride.

Even when the tank and the general enter the lyric, the band stays light on its feet.

The whoo-hoo answers start feeling more central here, turning the vocal into something communal instead of solitary.

On the Kennedy line, the accusation shifts outward; the voice says "you and me" while the backing cries keep agreeing with the beat.

He reintroduces himself, but now the crowd sound is built in. The courtesy feels less innocent the second time around.

This refrain has more people in the room: the same name-game, with those whoo-hoos packed around it.

After the chant stretch, "Pleased to meet you" comes back like the song never left the question alone.

Here the lyric starts flipping the terms: cop and criminal, sinners and saints, heads and tails.

The threat gets manners now: courtesy, sympathy, taste, all sung over the same steady party rhythm.

One more full refrain before the outro, and by now the name question sounds less like mystery than pressure.

"Get down" opens the long vamp; the song stops moving through scenes and starts circling the chant.

Now it's direct name-calling: "what's my name," tossed into the backing voices and the same percussion pattern.

The name demand comes back with "sweetie," still playful on the surface, still accusatory underneath.

Near the end, the pressure starts draining away, but you can still hear the pattern hanging on.