Tell Me :
Talk
Really nice to see this post Chris.
It doesn't surprise me about Charlie and Shirley, as seeing the pics, the locals love them and their family, and Charlie and Shirley love living there.
Beautiful Z, thanks
I grew up in Columbia. Mule Capital of the World! Odd to see a Daily Herald article posted here.
Edited 1 time(s). Last edit at 2021-08-29 21:22 by NashvilleBlues.
***
I'm just a Bad Boy Boogie
Edited 1 time(s). Last edit at 2021-08-29 23:41 by powerage78.
It sure is. The two drummers in it from the beginning. Amazing shot.
Funeral: Maybe we get some news after the funeral. It will not be a big public event.
Talk about your favorite band.
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Re: Charlie Watts Dies at 80
Posted by:
xke38
()
Date: August 29, 2021 00:33
Many excellent tributes posted in this thread. Here's another one, from Warren Haynes:
Charlie Watts was the heartbeat of Rock & Roll. No one provided more backbeat, rhythm, personality, and style to Rock & Roll music, and he continued to do so for almost 60 years. I have near-visual memories of being in my bedroom, nine years old, and listening to the single of "Honky Tonk Women" over and over. Not the whole song (which I loved) but the drum intro—over…and…over—literally ten times in a row at who knows how many different sittings. It was and is the coolest thing. Not just what he played which is fantastic, but the way it sounded. It has that intangible, indescribable, magical thing that epitomizes rock and roll that draws us in and hooks us in a way that is unexplainable and lifelong. I can’t tell you how many times I’ve cited that 8 second moment, (17 seconds if you count the guitar intro) when talking to other musicians or friends who are huge music fans, as an example of what rock and roll is. And many times, as a nine-year old boy, when I would finally make it through the entire song, I would immediately start it over. I remember making the connection that the ending was much faster than the beginning. Not in a bad way but in a great way. Like a Soul Revue getting faster and faster to stir up a frenzy. The way Black Gospel choirs would keep speeding up until you broke a sweat and felt the spirit! Rock & Roll, like Soul Music and Gospel Music is meant to breathe—to speed up and slow down like the human heart. That's part of why I don’t like (or connect with) most modern-day rock music that was recorded with a metronome or “click-track*.’ It lacks a certain swagger that Charlie Watts had in spades. And "Honky Tonk Women" is just one of countless examples where Charlie drove the music like no other. It’s impossible for me to narrow it down to a few favorites but, lets start with "Can’t You Hear Me Knocking,” "Brown Sugar,” "Sympathy For The Devil,” "Monkey Man," "Under My Thumb," "Gimme Shelter," "Dancing With Mr. D.," “Sway," “Bitch,” "Beast of Burden," "Let It Bleed"…you get the picture. They all give you that feeling that hits you when you’re listening to a groove and you suddenly realize your body is moving even though you didn’t know it. That’s the way I felt every time I heard the intro to "Honky Tonk Women" and I invariably find myself, still today, bobbing my head every time I hear Charlie’s pulse in any Rolling Stones’ song. That pulse is the heartbeat of Rock & Roll.”-WH
Charlie Watts was the heartbeat of Rock & Roll. No one provided more backbeat, rhythm, personality, and style to Rock & Roll music, and he continued to do so for almost 60 years. I have near-visual memories of being in my bedroom, nine years old, and listening to the single of "Honky Tonk Women" over and over. Not the whole song (which I loved) but the drum intro—over…and…over—literally ten times in a row at who knows how many different sittings. It was and is the coolest thing. Not just what he played which is fantastic, but the way it sounded. It has that intangible, indescribable, magical thing that epitomizes rock and roll that draws us in and hooks us in a way that is unexplainable and lifelong. I can’t tell you how many times I’ve cited that 8 second moment, (17 seconds if you count the guitar intro) when talking to other musicians or friends who are huge music fans, as an example of what rock and roll is. And many times, as a nine-year old boy, when I would finally make it through the entire song, I would immediately start it over. I remember making the connection that the ending was much faster than the beginning. Not in a bad way but in a great way. Like a Soul Revue getting faster and faster to stir up a frenzy. The way Black Gospel choirs would keep speeding up until you broke a sweat and felt the spirit! Rock & Roll, like Soul Music and Gospel Music is meant to breathe—to speed up and slow down like the human heart. That's part of why I don’t like (or connect with) most modern-day rock music that was recorded with a metronome or “click-track*.’ It lacks a certain swagger that Charlie Watts had in spades. And "Honky Tonk Women" is just one of countless examples where Charlie drove the music like no other. It’s impossible for me to narrow it down to a few favorites but, lets start with "Can’t You Hear Me Knocking,” "Brown Sugar,” "Sympathy For The Devil,” "Monkey Man," "Under My Thumb," "Gimme Shelter," "Dancing With Mr. D.," “Sway," “Bitch,” "Beast of Burden," "Let It Bleed"…you get the picture. They all give you that feeling that hits you when you’re listening to a groove and you suddenly realize your body is moving even though you didn’t know it. That’s the way I felt every time I heard the intro to "Honky Tonk Women" and I invariably find myself, still today, bobbing my head every time I hear Charlie’s pulse in any Rolling Stones’ song. That pulse is the heartbeat of Rock & Roll.”-WH
Re: Charlie Watts Dies at 80
Posted by:
crawdaddy
()
Date: August 29, 2021 01:33
Quote
chriseganstar
[www.bbc.co.uk]
I lived in Dolton for 10 years from 1985 to 95 and met Charlie many times there. Always very supportive to the village, as is Shirley now.
Really nice to see this post Chris.
It doesn't surprise me about Charlie and Shirley, as seeing the pics, the locals love them and their family, and Charlie and Shirley love living there.
Re: Charlie Watts Dies at 80
Posted by:
bye bye johnny
()
Date: August 29, 2021 02:40
Ann Wilson - "Wild Horses", City Winery NYC 8/24
Edited 1 time(s). Last edit at 2021-08-29 02:42 by bye bye johnny.
Edited 1 time(s). Last edit at 2021-08-29 02:42 by bye bye johnny.
Re: Charlie Watts Dies at 80
Posted by:
MisterDDDD
()
Date: August 29, 2021 03:09
The earlier article I posted (same but revised?) went into a little more detail.. “It got to the extent that we tried not to ask them.."
It was the "I can't tell you what I think of The Rolling Stones!" line that raised my eyebrow a bit
It was the "I can't tell you what I think of The Rolling Stones!" line that raised my eyebrow a bit
Quote
MisterDDDD
Dalton pays tribute to Stones' drummer Watts
Friday, August 27th, 2021 3:58pm
By Joe Ives, local democracy reporter
Famous resident opened village hall
Tributes poured from around the world this week following the death of Rolling Stones drummer Charlie Watts at 80. But a small Devon village is remembering the Stones' drummer too.
As owner of Halsdon Manor, a 600-acre sixteenth-century estate, famed for Polish Arab thoroughbreds and run by his wife Shirely, Mr Watts was Dalton's most famous resident.
A popular though rarely seen presence in the local community, by donating to local fundraising causes, the Watts were known with affection.
And this month marks the tenth anniversary of Charlie making a surprise showing to lend a hand to re-open the village hall.
Susan Jury, who was a Dalton Parish councillor at the time and is still chair Dalton Village Hall fondly, remembers the day with the “lovely” couple.
Although as prime donor only Shirley Watts had been invited as VIP guest, husband Charlie came along as support act and drummed up more publicity. “We had a bonus!” recalls Susan.
“They were the last to leave the hall on that day” she added.
But this hadn’t always been Mr Watt’s intention. According to Susan, the star sticks man had a car standing by outside because the cricket was on TV back at the manor. He’d decided that “if he wasn’t enjoying himself he was going home!”, Susan recalls.
He clearly got some satisfaction, staying on to chat to villagers.
Susan says that Mr and Mrs Watts were always “very generous” to the local community, and would be eager to support the attractive village. Their money helped pay for the village hall refurbishment.
“You’d write to them and you’d get a very nice cheque", says Susan. "They always started us off with a very nice sum.
“It got to the extent that we tried not to ask them because it gets embarrassing - you can’t keep on asking people for money!”
Martin Lock, village hall caretaker at the time, said “They never forced themselves on the village. They were always there if you needed that extra bit of help with charity or fundraising.”
As much as she was a fan of the couple personally, Susan is not quite so keen on Mr Watt’s music: “I can’t tell you what I think of The Rolling Stones! I’m not a Stones fan. I do like my Elvis.”
Dalton Village Hall is “a very big part of the community” says Susan, hosting everything from mother and toddlers events, cub scouts, coffee mornings, Sunday lunches and yoga sessions.
Charlies Watts, Rolling Stones drummer and Dalton resident who died this week, is remembered as a gentleman and good neighbour. No one ever complained about the drumming.
[www.radioexe.co.uk]
Re: Charlie Watts Dies at 80
Posted by:
MisterDDDD
()
Date: August 29, 2021 06:36
EXCLUSIVE: How Charlie Watts became an unlikely rock legend who enjoyed a quiet life
The Rolling Stones legend Charlie Watts died at the age of 80 earlier this week. Here's a look at how he rose to fame as an unlikely rock legend who enjoyed a quiet life
ByAlan Clayson
21:09, 27 Aug 2021
Alan Clayson, biographer of Rolling Stones legend Charlie Watts – who died this week at 80 – talks about the man behind the music and says had Charlie not made it with the Stones he could have enjoyed a quiet life – or been one of our greatest jazz men...
He had an extraordinary career as the drummer of the Rolling Stones. When they were voted the Greatest Rockers of All Time in a 1990 poll, the band left Bob Dylan and The Beatles in second and third place.
Yet in another life Charlie Watts might have been quite content with far more ordinary pursuits, perhaps running “rhythm and improvisation” workshops, immersing himself in music as other family men might in DIY, photography or sport.
When awaiting an unlooked-for destiny as a rock star, Charlie’s teenage imagination was captured by all the roots and branches of jazz.
His boyhood hero was be-bop saxophonist Charlie “Yardbird” Parker.
He bought a pair of wire brushes at 15 and constructed a snare-drum from a sawn-off banjo, building its stand from a Meccano set.
On receiving a second-hand kit as a Christmas present in 1957, he developed an understanding – fortunately for the neighbours – that “one of the great things with drums is to be able to play quietly”
When the 1960s started swinging, Charlie joined a functions band before playing with a modern jazz outfit and then Blues Incorporated, the house band at an Ealing club, in March 1962.
Yet while steeped in jazz, he was, nonetheless, “familiar with rock ’n’ roll”.
“I knew people like Screaming Lord Sutch and was quite used to Chuck Berry and all that,” he said.
This was a point in his favour when the struggling Rolling Stones were in need of a permanent drummer.
In January 1963 – after much heart-searching arithmetic – Charlie threw in his lot with Mick Jagger, Brian Jones, Keith Richards, Ian Stewart and Dick Taylor, soon to be replaced by Bill Wyman.
Charlie took over from Carlo Little, who also served Screaming Lord Sutch’s Savages. Sutch later said: “Carlo could have been a multi-millionaire if he hadn’t scribbled down Charlie’s phone number for Brian Jones.”
Instead, Little would be operating a hot-dog trailer outside a Stones spectacular at Wembley Stadium in the 1990s.
As onions sizzled in readiness for the surge afterwards, what was he thinking as explosions of acclamation punctuated every segment of muffled megawatt noise measured out by the beat of the sticksman who’d gone the distance with the headliners instead?
Back in an age when beat groups had to have almost Midwich Cuckoo regularity of dress, it was the Stones’ newest (and most conservatively dressed) member who led their rebellion against this by “mislaying” the corporate uniform he’d been obliged to wear for early TV appearances.
Yet Watts despised scruffiness. “I didn’t like jeans and sweaters,” he explained. “I thought they looked untidy and didn’t feel as good as I did in my suits with baggy trousers.”
Years later, he would be acclaimed by GQ magazine for his smart turn-out.
Going against the grain in his personal life too, he wed girlfriend Shirley Ann Shepherd in 1964.
They had drifted apart for a while after the Stones’ first hits, allowing Charlie a period of no-strings frivolity.
But he took the plunge despite the risk post-war pop stars ran of losing fans if they married.
With middle-aged candour, Watts would insist: “I wasn’t interested in being a pop idol and still think it’s silly.”
Fuelled by Charlie’s reluctant and seemingly bored remarks whenever a stick mic was thrust at his mouth, a journalist described him as “The Silent Stone”, a phrase that stuck when the band emerged in the mid-1960s as the most dangerous rivals to The Beatles.
Later, when his Stones duties permitted, Watts led various jazz combos. And when one of these appeared in New York in 1986, former Stones manager Andrew Loog Oldham was delighted at Charlie “being exactly where he wanted to be”.
Preferable to harrowing sound checks and dressing room fug, however, was the peace and fresh air of his and Shirley’s manor farm in Devon.
Huntin’, fishin’ and shootin’ didn’t appeal to the vegetarian couple but outbuildings included stables for the Arab horses that Shirley bred. And Charlie would “enjoy the company of dogs more than that of humans”.
He added: “Not that I loathe my species but they’d find me a miserable little man after a while.”
Among other of his interests were collecting mementos of the American civil war and being to drums as Lord Beaulieu was to motor vehicles.
He was also a connoisseur of Italian marble pigs. But how privately ordinary the icon once worshipped from afar appeared when he and his wife became an everyday sight at fetes, sheep dog trials and other parochial events where nothing much else was calculated to happen, year in, year out.
A vast fee for a Stones show in New York on the eve of the millennium couldn’t drag him away from a quiet night in his West Country haven.
However, while he was absent when the group was inducted into the Rock and Roll Hall of Fame, Watts was to stick his head above the parapet in 2001 as a castaway on Radio Four’s Desert Island Discs. Predictably, the records he picked were mostly from the jazz age.
But he included, too, a clip from Hancock’s Half Hour, cricket commentator John Arlott discussing bowling, Vaughan Williams’ The Lark Ascending and an excerpt from the Stravinsky ballet Petrushka.
And when prompted by presenter Sue Lawley, he telescoped a life that stressed the disparity between the drummer at the back and the show-off lead singer. “I don’t know how he does it,” said Charlie. “People love looking at him. He’s fantastic.”
The differences were instanced by Mick’s production company’s responsibility for that year’s heavily plugged Enigma movie as Charlie fended off overtures about a Sopranos cameo.
While Mick starred in a TV special to boost sales of his latest solo album, The Charlie Watts Tentet took up residencies in international clubland.
Charlie provided the jazz combo’s proficient if laconic continuity.
He recognised that his status as a Rolling Stone guaranteed all such undertakings the attention they wouldn’t have warranted in a more commonplace course of events.
Even so, he might have won a place in history as a truly great jazz leader.
*Charlie Watts by Alan Clayson is published by Music Sales Ltd. More info at www.alanclayson.com
(pictures omitted)
[www.mirror.co.uk]
Linked to by a tweet from Andrew Loog Oldham
[twitter.com]
Edited 1 time(s). Last edit at 2021-08-29 06:37 by MisterDDDD.
The Rolling Stones legend Charlie Watts died at the age of 80 earlier this week. Here's a look at how he rose to fame as an unlikely rock legend who enjoyed a quiet life
ByAlan Clayson
21:09, 27 Aug 2021
Alan Clayson, biographer of Rolling Stones legend Charlie Watts – who died this week at 80 – talks about the man behind the music and says had Charlie not made it with the Stones he could have enjoyed a quiet life – or been one of our greatest jazz men...
He had an extraordinary career as the drummer of the Rolling Stones. When they were voted the Greatest Rockers of All Time in a 1990 poll, the band left Bob Dylan and The Beatles in second and third place.
Yet in another life Charlie Watts might have been quite content with far more ordinary pursuits, perhaps running “rhythm and improvisation” workshops, immersing himself in music as other family men might in DIY, photography or sport.
When awaiting an unlooked-for destiny as a rock star, Charlie’s teenage imagination was captured by all the roots and branches of jazz.
His boyhood hero was be-bop saxophonist Charlie “Yardbird” Parker.
He bought a pair of wire brushes at 15 and constructed a snare-drum from a sawn-off banjo, building its stand from a Meccano set.
On receiving a second-hand kit as a Christmas present in 1957, he developed an understanding – fortunately for the neighbours – that “one of the great things with drums is to be able to play quietly”
When the 1960s started swinging, Charlie joined a functions band before playing with a modern jazz outfit and then Blues Incorporated, the house band at an Ealing club, in March 1962.
Yet while steeped in jazz, he was, nonetheless, “familiar with rock ’n’ roll”.
“I knew people like Screaming Lord Sutch and was quite used to Chuck Berry and all that,” he said.
This was a point in his favour when the struggling Rolling Stones were in need of a permanent drummer.
In January 1963 – after much heart-searching arithmetic – Charlie threw in his lot with Mick Jagger, Brian Jones, Keith Richards, Ian Stewart and Dick Taylor, soon to be replaced by Bill Wyman.
Charlie took over from Carlo Little, who also served Screaming Lord Sutch’s Savages. Sutch later said: “Carlo could have been a multi-millionaire if he hadn’t scribbled down Charlie’s phone number for Brian Jones.”
Instead, Little would be operating a hot-dog trailer outside a Stones spectacular at Wembley Stadium in the 1990s.
As onions sizzled in readiness for the surge afterwards, what was he thinking as explosions of acclamation punctuated every segment of muffled megawatt noise measured out by the beat of the sticksman who’d gone the distance with the headliners instead?
Back in an age when beat groups had to have almost Midwich Cuckoo regularity of dress, it was the Stones’ newest (and most conservatively dressed) member who led their rebellion against this by “mislaying” the corporate uniform he’d been obliged to wear for early TV appearances.
Yet Watts despised scruffiness. “I didn’t like jeans and sweaters,” he explained. “I thought they looked untidy and didn’t feel as good as I did in my suits with baggy trousers.”
Years later, he would be acclaimed by GQ magazine for his smart turn-out.
Going against the grain in his personal life too, he wed girlfriend Shirley Ann Shepherd in 1964.
They had drifted apart for a while after the Stones’ first hits, allowing Charlie a period of no-strings frivolity.
But he took the plunge despite the risk post-war pop stars ran of losing fans if they married.
With middle-aged candour, Watts would insist: “I wasn’t interested in being a pop idol and still think it’s silly.”
Fuelled by Charlie’s reluctant and seemingly bored remarks whenever a stick mic was thrust at his mouth, a journalist described him as “The Silent Stone”, a phrase that stuck when the band emerged in the mid-1960s as the most dangerous rivals to The Beatles.
Later, when his Stones duties permitted, Watts led various jazz combos. And when one of these appeared in New York in 1986, former Stones manager Andrew Loog Oldham was delighted at Charlie “being exactly where he wanted to be”.
Preferable to harrowing sound checks and dressing room fug, however, was the peace and fresh air of his and Shirley’s manor farm in Devon.
Huntin’, fishin’ and shootin’ didn’t appeal to the vegetarian couple but outbuildings included stables for the Arab horses that Shirley bred. And Charlie would “enjoy the company of dogs more than that of humans”.
He added: “Not that I loathe my species but they’d find me a miserable little man after a while.”
Among other of his interests were collecting mementos of the American civil war and being to drums as Lord Beaulieu was to motor vehicles.
He was also a connoisseur of Italian marble pigs. But how privately ordinary the icon once worshipped from afar appeared when he and his wife became an everyday sight at fetes, sheep dog trials and other parochial events where nothing much else was calculated to happen, year in, year out.
A vast fee for a Stones show in New York on the eve of the millennium couldn’t drag him away from a quiet night in his West Country haven.
However, while he was absent when the group was inducted into the Rock and Roll Hall of Fame, Watts was to stick his head above the parapet in 2001 as a castaway on Radio Four’s Desert Island Discs. Predictably, the records he picked were mostly from the jazz age.
But he included, too, a clip from Hancock’s Half Hour, cricket commentator John Arlott discussing bowling, Vaughan Williams’ The Lark Ascending and an excerpt from the Stravinsky ballet Petrushka.
And when prompted by presenter Sue Lawley, he telescoped a life that stressed the disparity between the drummer at the back and the show-off lead singer. “I don’t know how he does it,” said Charlie. “People love looking at him. He’s fantastic.”
The differences were instanced by Mick’s production company’s responsibility for that year’s heavily plugged Enigma movie as Charlie fended off overtures about a Sopranos cameo.
While Mick starred in a TV special to boost sales of his latest solo album, The Charlie Watts Tentet took up residencies in international clubland.
Charlie provided the jazz combo’s proficient if laconic continuity.
He recognised that his status as a Rolling Stone guaranteed all such undertakings the attention they wouldn’t have warranted in a more commonplace course of events.
Even so, he might have won a place in history as a truly great jazz leader.
*Charlie Watts by Alan Clayson is published by Music Sales Ltd. More info at www.alanclayson.com
(pictures omitted)
[www.mirror.co.uk]
Linked to by a tweet from Andrew Loog Oldham
[twitter.com]
Edited 1 time(s). Last edit at 2021-08-29 06:37 by MisterDDDD.
Re: Charlie Watts Dies at 80
Posted by:
JadedFaded
()
Date: August 29, 2021 06:41
Can somebody please post or point me to a really good photograph of Keith and Charlie together? Something that shows their affection for one another. Thanks!
Re: Charlie Watts Dies at 80
Posted by:
Tubeman
()
Date: August 29, 2021 06:53
Sam Cutler the bands former manager has also paid tribute
Link here
[www.9now.com.au]
It is a subscription link to Channel Nine news in Australia where Sam lives
Link here
[www.9now.com.au]
It is a subscription link to Channel Nine news in Australia where Sam lives
Re: Charlie Watts Dies at 80
Posted by:
z
()
Date: August 29, 2021 07:03
Quote
JadedFaded
Can somebody please post or point me to a really good photograph of Keith and Charlie together? Something that shows their affection for one another. Thanks!
Re: Charlie Watts Dies at 80
Posted by:
northof49
()
Date: August 29, 2021 07:14
^^^
Well done Z, it doesn't get much better than that.
Well done Z, it doesn't get much better than that.
Re: Charlie Watts Dies at 80
Posted by:
jbwelda
()
Date: August 29, 2021 08:42
Sam Cutler: hell, Charlie was the only one who would return my phone calls!
Just kidding.
I cannot get over how much Charlie looked like my dad. Even back in the sixties my mom made note of that and as Charlie got older he started looking more and more like him. I can almost picture my pop in that brown suit in the door way there.
jb
Just kidding.
I cannot get over how much Charlie looked like my dad. Even back in the sixties my mom made note of that and as Charlie got older he started looking more and more like him. I can almost picture my pop in that brown suit in the door way there.
jb
Re: Charlie Watts Dies at 80
Posted by:
JadedFaded
()
Date: August 29, 2021 10:01
Perfect. Thank you, Z
Re: Charlie Watts Dies at 80
Posted by:
johnnythunders
()
Date: August 29, 2021 11:02
Charlie Watts showed us how a man could be – cool, modest and always classy
Barbara Ellen (The Observer)
Sun 29 Aug 2021 08.30 BST
I was fortunate enough to meet Charlie Watts, the Rolling Stones drummer who died on Tuesday, interviewing him in 2000 for one of his beloved jazz projects. In the interview, I managed to call George Harrison “the bass player of the Beatles”. Still, I got some things right, writing: “Charlie’s the Stone who is so universally well liked that he commands instant respect without trying.”
It soon became apparent when his death was announced that the response was about honouring a great musician – the rock’n’roll legend, the lifelong jazz aficionado – but also a lot more. There was the standard emotional outpouring, the shock and dismay, that sense of grief-ownership that hits you: “Oh no, not Charlie!” However irrational such feelings are (Watts was 80, not 20), it nevertheless stings when one of “your own” artists takes their final bow. But something else was noteworthy: the reaction, immense and heartfelt, was also courteous, genuine, adult.
There may have been some fetid corners of the online world mired in denigration but it struck me that this was one of the most uniformly respectful and gracious mass reactions to a celebrity’s death; it felt as if the entire internet was making an effort to behave itself. Which made a funny kind of sense: this, after all, was Charlie Watts – not just a gentleman, but also the consummate grown-up in the kindergarten of rock’n’roll. Watts’s fine musicianship can be taken as read: the pristine timing, the self-possession, the swing, the spark that expensive equipment can’t buy. You get the sense that he wasn’t just admired by other musicians, he was studied, like an unofficial degree course. Fellow drummers haven’t been paying homage to him in platitudes – they’ve been going deep into detail, the small print of professional respect.
Still, Charlie’s appeal went beyond music. Here was a rarity: someone who was 100% his own man. Someone who knew exactly who he was when he first joined the Stones and continued to know right to the end. No small feat after a lifetime in the rock business, well known to be a raging bin-fire of towering egos, lost souls and not a little fragile masculinity. And you could probably at least triple that madness and pressure for the Rolling Stones.
Against this backdrop, Watts was always going to stand out, with his elegant bespoke suits (the odd dodgy oversize lapel aside, it was a hard no to the hippy tat in which the other Stones were often festooned), those abiding jazz passions and, bar a druggy interlude in the 1980s, that personal credo of reserve, courtesy and abhorrence of rock’n’roll excess and cliche. This included staying happily and faithfully married to wife, sculptress Shirley, for nearly 60 years.
This was a singular kind of man, increasingly uncommon, not just in music, but in life – exuding an old-fashioned kind of decency, marinating in charisma. Dated would be the wrong word: timeless.
The key to Watts keeps coming back to his strength of character, a stubborn refusal to be anything other than himself. Rebelling against society alongside your tribe is one thing; a refusenik rebelling against his tribe (with suits, jazz projects and the rest) is more interesting and complicated. Sometimes, there seemed to be an element of cultural social distancing in how Watts dealt with the Stones, the impression that he clocked on and off in a “day job” in the most celebrated rock band on Earth, that he was a Stone with a small-case “s”, whose hinterland lay elsewhere.
Then again, perhaps this was overplayed. Lord knows, Watts stuck out the Stones madness for all those decades, so to borrow 1960s parlance, he must have “dug it”. (It was also, of course, a well-remunerated gig.) He told me and many others that he was proud to be in the band. It could be that Watts just didn’t want to get sucked in, to the point that he wouldn’t be able to get out again. That individualism again, whatever the pressures or the cost. As the infamous tale has it, Mick Jagger once drunkenly phoned Watts, demanding: “Where’s my drummer?” and Watts put on his suit, went to see Jagger, punched him and said: “You’re my singer.”
Watts, the trained graphic designer, knew when to draw a line, how to stand up in a world of mega-ego and misbehaviour and say: “I don’t need this gig that much.”
What are these rare men about? There’s always the danger when somebody dies that secrets start scuttling out, like insects at a picnic, but I hope not in this case. This isn’t just about the music business; we live in a world that increasingly caters to access-all-areas swipe left/swipe right-style self-gratification. Women, especially, may feel that they live in a world of not enough decency, not enough Charlies.
Can the Stones carry on without him? The short answer is: they already have. They’ve brought in a replacement drummer, Steve Jordan, for the latest tour, with Watts’s blessing before he died, and they’re now saying that they’ll continue to tour in his honour. Can it truly be the Rolling Stones without Charles Robert Watts? Over the years, all the Stones brought something to the party, but Watts contributed one of the most difficult and precious things of all: class. RIP, Mr Watts. No wonder the internet behaved itself.
Barbara Ellen (The Observer)
Sun 29 Aug 2021 08.30 BST
I was fortunate enough to meet Charlie Watts, the Rolling Stones drummer who died on Tuesday, interviewing him in 2000 for one of his beloved jazz projects. In the interview, I managed to call George Harrison “the bass player of the Beatles”. Still, I got some things right, writing: “Charlie’s the Stone who is so universally well liked that he commands instant respect without trying.”
It soon became apparent when his death was announced that the response was about honouring a great musician – the rock’n’roll legend, the lifelong jazz aficionado – but also a lot more. There was the standard emotional outpouring, the shock and dismay, that sense of grief-ownership that hits you: “Oh no, not Charlie!” However irrational such feelings are (Watts was 80, not 20), it nevertheless stings when one of “your own” artists takes their final bow. But something else was noteworthy: the reaction, immense and heartfelt, was also courteous, genuine, adult.
There may have been some fetid corners of the online world mired in denigration but it struck me that this was one of the most uniformly respectful and gracious mass reactions to a celebrity’s death; it felt as if the entire internet was making an effort to behave itself. Which made a funny kind of sense: this, after all, was Charlie Watts – not just a gentleman, but also the consummate grown-up in the kindergarten of rock’n’roll. Watts’s fine musicianship can be taken as read: the pristine timing, the self-possession, the swing, the spark that expensive equipment can’t buy. You get the sense that he wasn’t just admired by other musicians, he was studied, like an unofficial degree course. Fellow drummers haven’t been paying homage to him in platitudes – they’ve been going deep into detail, the small print of professional respect.
Still, Charlie’s appeal went beyond music. Here was a rarity: someone who was 100% his own man. Someone who knew exactly who he was when he first joined the Stones and continued to know right to the end. No small feat after a lifetime in the rock business, well known to be a raging bin-fire of towering egos, lost souls and not a little fragile masculinity. And you could probably at least triple that madness and pressure for the Rolling Stones.
Against this backdrop, Watts was always going to stand out, with his elegant bespoke suits (the odd dodgy oversize lapel aside, it was a hard no to the hippy tat in which the other Stones were often festooned), those abiding jazz passions and, bar a druggy interlude in the 1980s, that personal credo of reserve, courtesy and abhorrence of rock’n’roll excess and cliche. This included staying happily and faithfully married to wife, sculptress Shirley, for nearly 60 years.
This was a singular kind of man, increasingly uncommon, not just in music, but in life – exuding an old-fashioned kind of decency, marinating in charisma. Dated would be the wrong word: timeless.
The key to Watts keeps coming back to his strength of character, a stubborn refusal to be anything other than himself. Rebelling against society alongside your tribe is one thing; a refusenik rebelling against his tribe (with suits, jazz projects and the rest) is more interesting and complicated. Sometimes, there seemed to be an element of cultural social distancing in how Watts dealt with the Stones, the impression that he clocked on and off in a “day job” in the most celebrated rock band on Earth, that he was a Stone with a small-case “s”, whose hinterland lay elsewhere.
Then again, perhaps this was overplayed. Lord knows, Watts stuck out the Stones madness for all those decades, so to borrow 1960s parlance, he must have “dug it”. (It was also, of course, a well-remunerated gig.) He told me and many others that he was proud to be in the band. It could be that Watts just didn’t want to get sucked in, to the point that he wouldn’t be able to get out again. That individualism again, whatever the pressures or the cost. As the infamous tale has it, Mick Jagger once drunkenly phoned Watts, demanding: “Where’s my drummer?” and Watts put on his suit, went to see Jagger, punched him and said: “You’re my singer.”
Watts, the trained graphic designer, knew when to draw a line, how to stand up in a world of mega-ego and misbehaviour and say: “I don’t need this gig that much.”
What are these rare men about? There’s always the danger when somebody dies that secrets start scuttling out, like insects at a picnic, but I hope not in this case. This isn’t just about the music business; we live in a world that increasingly caters to access-all-areas swipe left/swipe right-style self-gratification. Women, especially, may feel that they live in a world of not enough decency, not enough Charlies.
Can the Stones carry on without him? The short answer is: they already have. They’ve brought in a replacement drummer, Steve Jordan, for the latest tour, with Watts’s blessing before he died, and they’re now saying that they’ll continue to tour in his honour. Can it truly be the Rolling Stones without Charles Robert Watts? Over the years, all the Stones brought something to the party, but Watts contributed one of the most difficult and precious things of all: class. RIP, Mr Watts. No wonder the internet behaved itself.
Re: Charlie Watts Dies at 80
Posted by:
Beast
()
Date: August 29, 2021 12:28
Barbara Ellen's piece is spot on. Thanks, johnnythunders.
Re: Charlie Watts Dies at 80
Posted by:
matxil
()
Date: August 29, 2021 12:34
I don't know if this was posted here already, if so, I apologize for repeating but I think this is such a both moving and interesting piece on Charlie Watts from two people, drummers, who really know what and whom they are talking about, in the Guardian:
[www.theguardian.com]
https://www.theguardian.com/music/2021/aug/26/stewart-copeland-max-weinberg-on-charlie-watts-rolling-stones
[www.theguardian.com]
https://www.theguardian.com/music/2021/aug/26/stewart-copeland-max-weinberg-on-charlie-watts-rolling-stones
Re: Charlie Watts Dies at 80
Posted by:
MisterDDDD
()
Date: August 29, 2021 15:58
Last show @ Vegas Axl show up on encore wearing a Rolling Stones t-shirt in honor of Charlie Watts. The whole show was dedicated to him.
[twitter.com]
[twitter.com]
Re: Charlie Watts Dies at 80
Posted by:
bye bye johnny
()
Date: August 29, 2021 16:07
The Black Crowes - "Torn & Frayed", Ridgefield WA 8/25
Re: Charlie Watts Dies at 80
Posted by:
Niek
()
Date: August 29, 2021 16:12
Coming back to IORR again and again looking for some relief for the grief and find it here.
Beautiful Torn and Frayed
(Always took candy from strangers)
Beautiful Torn and Frayed
(Always took candy from strangers)
Re: Charlie Watts Dies at 80
Posted by:
BN78
()
Date: August 29, 2021 19:45
Quote
zQuote
JadedFaded
Can somebody please post or point me to a really good photograph of Keith and Charlie together? Something that shows their affection for one another. Thanks!
Beautiful Z, thanks
Re: Charlie Watts Dies at 80
Posted by:
bye bye johnny
()
Date: August 29, 2021 19:56
Charlie Watts was the always classy, constant anchor of The Rolling Stones
Jay Powell | The Daily Herald
August 29, 2021
Victoria Will/AP
Any time there was a band photo, video or presentation of The Rolling Stones, drummer Charlie Watts was always the most humble, soft-spoken and last to present himself as a "famous rocker."
Yet, it was always heartwarming whenever the other band members would grab him by the arms, and pretty much throw him out to the front, whether it was during a concert or one of the thousands of interviews the band has conducted during its nearly 60-year run.
Watts always seemed to give the same response — usually dressed in a proper suit, giving his polite and subdued, English gentlemanly mannerisms. He was a man of few words, but every time, smiling at the fact he was loved the world over, even if he didn't want to relish in fame like the other guys.
This often occurring "Get out there, Charlie, people love you" incident happened the last time The Stones made their way to Music City as part of their 2015 Zip Code Tour, performing to a packed Nissan Stadium (then LP Field) for a hot, sweaty and unforgettable concert.
Looking back on that night, there were many moments that stood out, such as the band's performance of classics like "Sympathy for the Devil," "You Can't Always Get What You Want," (featuring The Belmont University Chorale), as well as guitarist and scientific specimen Keith Richards taking the vocals for "Before They Make Me Run" and, my favorite of his from 1972's "Exile on Main Street", the song "Happy."
However, my favorite moment of the show was when it came time to introduce the band (as if that was really necessary). Mick Jagger took a few moments to introduce the backing members, at first the crew on bass (shoutout to longtime touring bassist Darryl Jones), the keyboards, the backup singers, percussionists and other on-hand crew members.
By the time he got to the "real members" of the gang, such as guitarists Ron Wood and Keith Richards, the most endearing moment was when Watts was recognized.
At first, his name was mentioned and Watts gave the crowd a wave from behind his drumkit. Never being one for the limelight, Watts politely sat down and took his seat behind the skins ready to resume the show.
That is, until Mick ran back and grabbed Watts by the arm, bringing him to the front of the stage, where Watts received an outpouring of applause, even if he might have seemed a little embarrassed by his fellow bandmate's encouragement.
A moment like that shows why Charlie Watts was the anchor, the "straight man" and constant humble guy he always was, not wishing for immense adulation, but always grateful for the life he's been a part.
In reading about Watt's, following his death earlier this week at 80, one of the most fascinating aspects of his career was that, despite being a member of arguably the greatest rock n' roll bands of all time, he always considered his role in The Rolling Stones as nothing more than a "day job," something that allowed him to pursue things he was really passionate about, like his lifelong love of jazz.
That's the makings of a true artist, because it wasn't about fame, but merely a catalyst for his creativity.
For a good example of Watts in his truest element, look up his group, The A & B & C & D of Boogie Woogie, particularly the song "More Sympathy for The Drummer" recorded live in Paris in 2011. It's a real swinger that definitely lives up to the band's namesake.
Also, if you are a SiriusSM subscriber, "The Bennington Show" on Faction Talk 103 posted a really great interview with Watts from 2012. I recommend you look it up and give it a listen.
Watts' success as a member of The Stones simply allowed him to freely pursue other opportunities as an artist, while being a devoted husband to his wife, Shirley Ann Shepherd, for nearly 60 years. He wasn't the partier, the self-indulgent rock star partaking in all the sex, drugs and other amenities that come from being famous. He was a consummate professional, which considering the band's reputation, really says a lot.
If anything, he was the antithesis of how the band had been molded in the public eye, and it made him all the more interesting as a human being.
It's also interesting to think of Watts in the same context with other drummers of the time, many of which were considered the "wild card" of the group. Just think of people like Keith Moon from The Who, or John Bonham from Led Zeppelin.
These guys are often described as the crazy and unpredictable drunkards always on the search for a little fun or trouble, the ones who drove cars into hotel pools or launched a television set out of a four-story window.
Watts refrained from doing any of that, instead focusing on his craft and using fame to his advantage by being a devoted husband and respectful Englishman, while pursuing his true interests.
He is probably the only rock star that didn't really have an ego. He just did his job and made time for his hobbies.
That really says something, considering your band is one of the biggest of all time next to The Beatles.
Charlie Watts was the man, an inspiration, someone many young artists can learn a thing or two from, and may he rest in peace.
[www.columbiadailyherald.com]
Jay Powell | The Daily Herald
August 29, 2021
Victoria Will/AP
Any time there was a band photo, video or presentation of The Rolling Stones, drummer Charlie Watts was always the most humble, soft-spoken and last to present himself as a "famous rocker."
Yet, it was always heartwarming whenever the other band members would grab him by the arms, and pretty much throw him out to the front, whether it was during a concert or one of the thousands of interviews the band has conducted during its nearly 60-year run.
Watts always seemed to give the same response — usually dressed in a proper suit, giving his polite and subdued, English gentlemanly mannerisms. He was a man of few words, but every time, smiling at the fact he was loved the world over, even if he didn't want to relish in fame like the other guys.
This often occurring "Get out there, Charlie, people love you" incident happened the last time The Stones made their way to Music City as part of their 2015 Zip Code Tour, performing to a packed Nissan Stadium (then LP Field) for a hot, sweaty and unforgettable concert.
Looking back on that night, there were many moments that stood out, such as the band's performance of classics like "Sympathy for the Devil," "You Can't Always Get What You Want," (featuring The Belmont University Chorale), as well as guitarist and scientific specimen Keith Richards taking the vocals for "Before They Make Me Run" and, my favorite of his from 1972's "Exile on Main Street", the song "Happy."
However, my favorite moment of the show was when it came time to introduce the band (as if that was really necessary). Mick Jagger took a few moments to introduce the backing members, at first the crew on bass (shoutout to longtime touring bassist Darryl Jones), the keyboards, the backup singers, percussionists and other on-hand crew members.
By the time he got to the "real members" of the gang, such as guitarists Ron Wood and Keith Richards, the most endearing moment was when Watts was recognized.
At first, his name was mentioned and Watts gave the crowd a wave from behind his drumkit. Never being one for the limelight, Watts politely sat down and took his seat behind the skins ready to resume the show.
That is, until Mick ran back and grabbed Watts by the arm, bringing him to the front of the stage, where Watts received an outpouring of applause, even if he might have seemed a little embarrassed by his fellow bandmate's encouragement.
A moment like that shows why Charlie Watts was the anchor, the "straight man" and constant humble guy he always was, not wishing for immense adulation, but always grateful for the life he's been a part.
In reading about Watt's, following his death earlier this week at 80, one of the most fascinating aspects of his career was that, despite being a member of arguably the greatest rock n' roll bands of all time, he always considered his role in The Rolling Stones as nothing more than a "day job," something that allowed him to pursue things he was really passionate about, like his lifelong love of jazz.
That's the makings of a true artist, because it wasn't about fame, but merely a catalyst for his creativity.
For a good example of Watts in his truest element, look up his group, The A & B & C & D of Boogie Woogie, particularly the song "More Sympathy for The Drummer" recorded live in Paris in 2011. It's a real swinger that definitely lives up to the band's namesake.
Also, if you are a SiriusSM subscriber, "The Bennington Show" on Faction Talk 103 posted a really great interview with Watts from 2012. I recommend you look it up and give it a listen.
Watts' success as a member of The Stones simply allowed him to freely pursue other opportunities as an artist, while being a devoted husband to his wife, Shirley Ann Shepherd, for nearly 60 years. He wasn't the partier, the self-indulgent rock star partaking in all the sex, drugs and other amenities that come from being famous. He was a consummate professional, which considering the band's reputation, really says a lot.
If anything, he was the antithesis of how the band had been molded in the public eye, and it made him all the more interesting as a human being.
It's also interesting to think of Watts in the same context with other drummers of the time, many of which were considered the "wild card" of the group. Just think of people like Keith Moon from The Who, or John Bonham from Led Zeppelin.
These guys are often described as the crazy and unpredictable drunkards always on the search for a little fun or trouble, the ones who drove cars into hotel pools or launched a television set out of a four-story window.
Watts refrained from doing any of that, instead focusing on his craft and using fame to his advantage by being a devoted husband and respectful Englishman, while pursuing his true interests.
He is probably the only rock star that didn't really have an ego. He just did his job and made time for his hobbies.
That really says something, considering your band is one of the biggest of all time next to The Beatles.
Charlie Watts was the man, an inspiration, someone many young artists can learn a thing or two from, and may he rest in peace.
[www.columbiadailyherald.com]
Re: Charlie Watts Dies at 80
Posted by:
NashvilleBlues
()
Date: August 29, 2021 21:11
Quote
bye bye johnny
Charlie Watts was the always classy, constant anchor of The Rolling Stones
Jay Powell | The Daily Herald
August 29, 2021
Victoria Will/AP
Any time there was a band photo, video or presentation of The Rolling Stones, drummer Charlie Watts was always the most humble, soft-spoken and last to present himself as a "famous rocker."
Yet, it was always heartwarming whenever the other band members would grab him by the arms, and pretty much throw him out to the front, whether it was during a concert or one of the thousands of interviews the band has conducted during its nearly 60-year run.
Watts always seemed to give the same response — usually dressed in a proper suit, giving his polite and subdued, English gentlemanly mannerisms. He was a man of few words, but every time, smiling at the fact he was loved the world over, even if he didn't want to relish in fame like the other guys.
This often occurring "Get out there, Charlie, people love you" incident happened the last time The Stones made their way to Music City as part of their 2015 Zip Code Tour, performing to a packed Nissan Stadium (then LP Field) for a hot, sweaty and unforgettable concert.
Looking back on that night, there were many moments that stood out, such as the band's performance of classics like "Sympathy for the Devil," "You Can't Always Get What You Want," (featuring The Belmont University Chorale), as well as guitarist and scientific specimen Keith Richards taking the vocals for "Before They Make Me Run" and, my favorite of his from 1972's "Exile on Main Street", the song "Happy."
However, my favorite moment of the show was when it came time to introduce the band (as if that was really necessary). Mick Jagger took a few moments to introduce the backing members, at first the crew on bass (shoutout to longtime touring bassist Darryl Jones), the keyboards, the backup singers, percussionists and other on-hand crew members.
By the time he got to the "real members" of the gang, such as guitarists Ron Wood and Keith Richards, the most endearing moment was when Watts was recognized.
At first, his name was mentioned and Watts gave the crowd a wave from behind his drumkit. Never being one for the limelight, Watts politely sat down and took his seat behind the skins ready to resume the show.
That is, until Mick ran back and grabbed Watts by the arm, bringing him to the front of the stage, where Watts received an outpouring of applause, even if he might have seemed a little embarrassed by his fellow bandmate's encouragement.
A moment like that shows why Charlie Watts was the anchor, the "straight man" and constant humble guy he always was, not wishing for immense adulation, but always grateful for the life he's been a part.
In reading about Watt's, following his death earlier this week at 80, one of the most fascinating aspects of his career was that, despite being a member of arguably the greatest rock n' roll bands of all time, he always considered his role in The Rolling Stones as nothing more than a "day job," something that allowed him to pursue things he was really passionate about, like his lifelong love of jazz.
That's the makings of a true artist, because it wasn't about fame, but merely a catalyst for his creativity.
For a good example of Watts in his truest element, look up his group, The A & B & C & D of Boogie Woogie, particularly the song "More Sympathy for The Drummer" recorded live in Paris in 2011. It's a real swinger that definitely lives up to the band's namesake.
Also, if you are a SiriusSM subscriber, "The Bennington Show" on Faction Talk 103 posted a really great interview with Watts from 2012. I recommend you look it up and give it a listen.
Watts' success as a member of The Stones simply allowed him to freely pursue other opportunities as an artist, while being a devoted husband to his wife, Shirley Ann Shepherd, for nearly 60 years. He wasn't the partier, the self-indulgent rock star partaking in all the sex, drugs and other amenities that come from being famous. He was a consummate professional, which considering the band's reputation, really says a lot.
If anything, he was the antithesis of how the band had been molded in the public eye, and it made him all the more interesting as a human being.
It's also interesting to think of Watts in the same context with other drummers of the time, many of which were considered the "wild card" of the group. Just think of people like Keith Moon from The Who, or John Bonham from Led Zeppelin.
These guys are often described as the crazy and unpredictable drunkards always on the search for a little fun or trouble, the ones who drove cars into hotel pools or launched a television set out of a four-story window.
Watts refrained from doing any of that, instead focusing on his craft and using fame to his advantage by being a devoted husband and respectful Englishman, while pursuing his true interests.
He is probably the only rock star that didn't really have an ego. He just did his job and made time for his hobbies.
That really says something, considering your band is one of the biggest of all time next to The Beatles.
Charlie Watts was the man, an inspiration, someone many young artists can learn a thing or two from, and may he rest in peace.
[www.columbiadailyherald.com]
I grew up in Columbia. Mule Capital of the World! Odd to see a Daily Herald article posted here.
Edited 1 time(s). Last edit at 2021-08-29 21:22 by NashvilleBlues.
Re: Charlie Watts Dies at 80
Posted by:
powerage78
()
Date: August 29, 2021 23:37
***
I'm just a Bad Boy Boogie
Edited 1 time(s). Last edit at 2021-08-29 23:41 by powerage78.
Re: Charlie Watts Dies at 80
Posted by:
MisterDDDD
()
Date: August 30, 2021 03:00
Love these pics of Charlie & Ringo
Rob Shanahan
@shanahanphoto
· Aug 28
One of my favorite days ever: a magical afternoon spent at #Ringo's house with #CharlieWatts and #JimKeltner hanging out, talking #drums, and taking photos.
[twitter.com]
A few more (apparently) from that day..
Edited 1 time(s). Last edit at 2021-08-30 03:01 by MisterDDDD.
Rob Shanahan
@shanahanphoto
· Aug 28
One of my favorite days ever: a magical afternoon spent at #Ringo's house with #CharlieWatts and #JimKeltner hanging out, talking #drums, and taking photos.
[twitter.com]
A few more (apparently) from that day..
Edited 1 time(s). Last edit at 2021-08-30 03:01 by MisterDDDD.
Re: Charlie Watts Dies at 80
Posted by:
snorton
()
Date: August 30, 2021 03:31
The photographer for shots above, who is also seen in the top photo, is also a drummer and plays in the Stones copy band, Hollywood Stones"...seen them a couple of times when they come up to Nor California.
[www.hollywoodstones.com]
[www.hollywoodstones.com]
Re: Charlie Watts Dies at 80
Posted by:
Lady Jayne
()
Date: August 30, 2021 10:05
The photo of Ringo and Charlie reaching in for a hug is wonderful.
Re: Charlie Watts Dies at 80
Posted by:
StonedAsiaExile
()
Date: August 30, 2021 10:42
Quote
Lady Jayne
The photo of Ringo and Charlie reaching in for a hug is wonderful.
It sure is. The two drummers in it from the beginning. Amazing shot.
Re: Charlie Watts Dies at 80
Posted by:
ribbelchips
()
Date: August 30, 2021 11:40
Tomorrow it has been a week since the sad news.. Isn't it a bit strange that we haven't gotten ANY information or news at all since then? Nothing about the cause of death, the (date of the) funeral, official statements from band members ect.. It's nice to see that the press respects the privacy of the family and friends and that no pictures of mourning Stones or family showed up in the tabloids, but the total lack of news surprises me...
Edited 1 time(s). Last edit at 2021-08-30 11:41 by ribbelchips.
Edited 1 time(s). Last edit at 2021-08-30 11:41 by ribbelchips.
Re: Charlie Watts Dies at 80
Posted by:
MAF
()
Date: August 30, 2021 12:28
The cause of death: It's private and not our business.Quote
ribbelchips
Tomorrow it has been a week since the sad news.. Isn't it a bit strange that we haven't gotten ANY information or news at all since then? Nothing about the cause of death, the (date of the) funeral
Funeral: Maybe we get some news after the funeral. It will not be a big public event.
Re: Charlie Watts Dies at 80
Posted by:
ribbelchips
()
Date: August 30, 2021 12:37
Of course it is private, but that kind of information usually leaks. The cause of death of every celebrity that passsed away the last 50 years or so has been leaked or made public. And so is information about the funeral. How can that be still unknown in this era of smartphones and social media?
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