"I'd already heard the riff in my head the way Otis Redding did it later, thinking, this is gonna be in the horn line. But we didn't have any horns, and I was only going to lay down a dub. The fuzz tone came in handy so I could give a shape to what the horns were supposed to do. But the fuzz tone had never been heard before anywhere, and that's the sound that caught everybody's imagination. Next thing I know, we're listening to ourselves in Minnesota somewhere on the radio, 'Hit of the Week,' and we didn't even know Andrew had put the fucking thing out! At first I was mortified. As far as I was concerned that was just the dub.... And I learned that lesson — sometimes you can overwork things."
That's Keith Richards, in his autobiography, "Life," learning a lesson about spontaneity and minimalism. (Page 177.)
Here's the Otis Redding version, with the horns as Richards had originally intended. Speaking of intent, I don't think Richards intended to imply a criticism of Redding's version, only to tell the story of how he produced the sound we hear on the Rolling Stones original recording. He's essentially giving himself a double compliment: 1. I imagined the full orchestration that the best soul music people of the time produced, and 2. I ingeniously used the guitar (with a Gibson fuzz tone pedal) to produce that sound and outdid them by cranking it all out quickly.
But Richards did, backhandedly, put down Otis Redding. You can overwork things.