Subject: my Charlie Watts story

While I was a college music student in the mid 1970s I had a summer job as record clerk at a Sam Goody record store in midtown Manhattan.  My job was to keep the shelves and racks of LPs, cassettes and 8-tracks organized and to assist shoppers in finding what they were looking for.  One afternoon Charlie Watts walked in and started browsing!  I was awe struck, but since it was my job, I approached him and ask if I could help him. He said I could indeed, and pulled out of his pocket a handwritten list of records he wanted. There were dozens of records on the list, the majority of them jazz of all kinds, but also many classical, rock, and folk records. I located almost everything on his list, which took a while, and we started to chat as I worked.  After I told him I was a huge fan of his band and a music student and a guitarist, clarinetist, and composer, he asked me what music I liked. I mentioned several 20th century pieces I liked, including some pieces by Bartok, Stravinsky, Penderecki, electronic music by Davidovsky, as well as some obscure rock music, much of which he’d never heard. He asked me to find all those records I mentioned and add them to his large pile of LPs, saying he wanted to expand his musical horizons. Besides being one of the best drummers around, Charlie Watts was a good, interesting man who treated people with respect and had a thirst for music of all kinds.

– Elliot Sokolov

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Subject: Charlie Watts

Dear Bob,

It still amazes me that 21 years later, I got to work with my pre-teen idols — and not just work… bassist Bill Wyman and I became friends for a while and would hang out together — and I feel for Bill today because he loved Charlie like a brother. When Eddie Arno and I formed Arno & Innocenti Pictures in London’s Charing Cross Road back in 1986, Charlie was our first client — a multi-camera shoot of the live recording (per the Rolling Stones Mobile, naturally) of his jazz “big band”, the Charlie Watts Orchestra. It’s true that in those years Charlie was struggling with alcohol — but he was never “drunk” — that’s unimaginable. Perhaps his natural English eccentricity was more pronounced — but even then, you didn’t know if he was having a laugh at your expense or not, because he was always so deadpan. I remember thanking him once when we’d come to the end of a long day’s shoot and he said, ‘What are you thanking me for?’ ‘For the filming, Charlie’, I replied, waving my arm at the lights and camera equipment being dismantled all around us. ‘What filming?’ he asked. Poker-faced.

It’s well-documented that he was one of the world’s Best Dressed Men. I remember being astonished the first time I saw him out of the “work” clothes he wore on stage and changed into his “street” attire. He was immaculate — and his taste was incredible. He was dressed way better than anyone I ever saw, including male icons from movies — but he wore the clothes as if he was completely unaware of how well he was turned out.

Most of the fun stories about Charlie were told to me by Bill — including the famous one where the singer summoned “his drummer” late at night, and Charlie got out of bed, dressed impeccably (as always), knocked on the singer’s door and punched him in the face with the immortal line “I’m not your f**king drummer.” Less well known are the stories of Charlie’s generosity and kindness — some of them quite eccentric, like the time in Paris during a rainstorm when he saw an elderly homeless woman get drenched after a passing car went through a puddle. He took her into a nearby clothing store and got her completely outfitted — shoes, hat, purse — the lot.

I think the moment I realized how nice a man Charlie was, and how empathetic he could be, happened one day in Olympic Studios. We were doing the final mix on the jazz film and it cut to a shot of Jack Bruce (also struggling with alcoholism) who’d played cello. Charlie wanted the fader raised so we could hear what Jack was playing. It turned out to be a single, long sorrowful note — not in any way connected to the music the rest of the band were playing. Charlie leaned forward and brought the fader down. “Poor Jack,” he said, gently — in a tone filled with understanding and with not a trace of disdain.

Can’t stop thinking about him these past two days, and what an amazing gentleman he was.

Markus Innocenti

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Subject: Re: Re-Charlie Watts

July 16, 1994. The Rolling Stones are rehearsing for the Voodoo Lounge Tour in the gymnasium at Crescent Boys School in Toronto.  I get a call from Benji LeFevre, their FOH soundman to bring the mobile there to record a six minute piece of music to be played at every stop on the tour, from when the house lights go down to when Charlie Watts appears onstage, playing the Bo Diddley beat drum intro to “Not Fade Away”, the opening song in their set. The idea is that Benji will crossfade out of the tape and into the live drum kit, and since we would be using the same mics at the same distance from the drums as the stage setup, it would be seamless. So we just need Charlie to play a four bar segment perfectly, and I will create a drum tape loop in the truck (hey, it was 1994) off the 24 track 2″ machine to extend it to six minutes.  Charlie came in, hung up his jacket on a hanger behind the kit, and started to play. (who else but Charlie Watts would wear a suit jacket to a band rehearsal in Toronto in July!) He later came out to the truck, signed an autograph for me, took a look at my shoes, and asked me where I bought them.  He then sent a runner to Aldo’s at the Eaton Centre to purchase a pair for himself.  The runner took my shoes with him to be sure he’d get the same pair.  (no cel phone cameras back in ’94)   I spent the next hour in the mobile at the console my socks.

I felt like I was taking to English Royalty, but then again, I guess I was!   Charlie spent a lot of time in the truck that day, as he and Jagger were producing the session.

We recorded him for about 30 minutes, then stopped. I wasn’t sure why, until one of the Stones’ roadies came in with a cup of tea on a saucer for Charlie. For a true English gentleman, everything stops for tea! Needless to say, it was a pretty memorable day. Jagger overdubbed maracas, and Chuck Leavell  overdubbed keyboards after that.  There were also jet sound fx, and they even brought in a couple of people to overdub conversation in an African language as part off the big sound collage.    We then transferred the 24 track analog tape to DA88 digital tape, brought those machines into the gym where the p.a console was set up, and Benji did the final mix through the p.a speaker stack at concert volume.

In addition to getting paid for the three days we were there recording, editing and mixing the track, they gave us tickets to their concert at Exhibition Stadium on Aug 7, but that was the day I moved into my current house, so I never actually got to hear the track played back in a concert setting!     Here’s a link to one of the shows on that tour with the recording at the top.  https://www.youtube.com/watch?v=ZWjoXMY6FNo&ab_channel=ShadowBox

By the way, Jagger did the maracas overdub in one take.   I complemented him on it, and he said, “I learned from the best: Bo Diddley’s percussionist Jerome Green.”

Regards,

Doug McClement

LiveWire Remote Recorders

Toronto, Canada

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Subject: Re: Charlie Watts

Loved the last para in your Charlie tribute. Well done.

I am from the States, but lived in London from 2009-2015. On March 17, 2012. I went to see Charlie and his ABC&D of jazz ensemble. They were playing in Soho at the Pizza Express, a pizza restaurant/chain that was known for putting on great live jazz shows.

I am a massive Stones fan (25 gigs, 5 countries, 3 continents since 1994). I went to Charlie’s gig to see the man, not necessarily to hear the music. The venue is table setting and cozy. I had a seat by myself at a small table the back of the room by the mixing board.

At the intermission I stood up against the wall next to the mixing board. Who should walk up and stand next to me? Charlie. He was waiting to go up and play the next set.

I introduced myself and we talked about his gig and his ensemble. He asked where I was from, how long I had been living in London… just small talk. I thanked him for all the music he’s made and made a simple comment about how much I appreciated he and the Stones. The conversation lasted about 10 minutes. I played it pretty cool and didn’t overwhelm with Stones fan-boy talk.

Before he left to make his way to the stage, I thanked him for his time. He was standing to my left. He turned, put his hands on my shoulders and made a double pat gesture, nodded, smiled and walked off.

I felt like I had been blessed!

Cool, calm, collected and genuine.

He was very kind to take 10 minutes to talk to a fan.  I was one of many fans he’s interacted with, but for me it was a music-fan life moment.

To your point… “these heroes and their music keep you going.”

Judd Marcello

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From: paul draper

Subject: Re: Re-Charlie Watts

Bob,

When my band Mansun were working on our second album at Olympic Studios in 98 Charlie was working on his jazz record in studio 1, we would sneak a look in the live room at his Gretsch kit bathed in spotlights. Olympic studio 1 was long used by the Stones, Zepplin, Hendrix and even the venue for the All You Need is love broadcast by the Beatles, history dripped in the place, Claptons pick was glued to the wall. Being the UK, we scrapped Olympic as a studio instead of protecting it like the UK government finally stepped in to save Abbey Road during the Napster era, designating it a Grade 1 listed building. They turned Olympic into a cinema, however in the cauldron of the UK music scene in the 90’s Mansun were holed up trying to follow up our UK No1 debut, The Verve were recording Urban Hymns, Massive Attack were mixing Mezzanine and even Clapton was in. Charlie would arrive in the morning at Olympic in a fleet of Bentleys with his crew of East End chaps having been driven from his stud farm in Devon. The whole place was buzzing to be there at the same time as Charlie. A better dressed man Ive never seen, dapper and stylish, immaculate. A friendlier man Ive never met, he made us all cups of tea, he talks to us all as if he’d know us for years, quiet and unassuming but his presence was massive to us. Us young upstarts at the coalface of Britpop and the 90s British music scene, in awe of this living legend, he showed us all humility in the testosterone fuelled competitive atmosphere of Olympic back then.

Charlie was kind and considerate when you met him, nurturing to younger musicians, no ego, he stunned us all with his grace, but we just wanted to hear him play. The groove between his kick and snr was indeed born only from a jazz man but the feel has always been the greatest in the business, his unique hi hat style were unparalleled, check out Jumping Jack Flash at Glastonbury to see a wonderful musician in his 70s blowing away and taking 100,000 kids into an extracy that makes life worth living for at that moment, and a man so lovely, humble and gentle I cried when I heard of his passing, he touched my life.

In the UK yesterday they were blasting out Gimme Shelter at the Cricket match, England vs India, the front of the UK press was plastered with deserved tributes to Charlie pushing Afghanistan off the front pages, we’ve had a delayed reaction in the UK to Charlies passing. Kenny Jones has been on Sky News referring to Charlie like he’s still here and that his incredible catalogue of grooves and feel that made a whole generation rock and roll means he will be with us way beyond his mortal years. This makes us feel just a tiny bit better about loosing him, he’s been with us all our lives, he touched us all and his legend has exploded in the last 24 hours in the uK. 

Paul Draper

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Subject: Don Everly

Bob

A sad loss, they were so inspiring

October 1963, and coming up to my 17th birthday and I’m at my first package rock show in Manchester. Headlined by the Everly Brothers, and also featuring Bo Diddley, the Rolling Stones, and Little Richard. The second half was opened by a pair of singer/guitarists known as the Most Brothers. Little did I know that within two years my band will have been produced by Mickie Most, we will have worked (and fallen out with) with the Stones, and we’d have Lek joining Little Richard on stage at the Galaxy in LA.

Keith Hopwood

Herman’s Hermits

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Subject: Re: Re-Don Everly

Hi Bob…I wanted to add my sad happy memory. As the newly hatched in England band America, we were so proud to play our first official shows in the U.S. opening for the Everly Brothers at the Cellar Door in D.C. Having grown up as kids hearing those 2 voices singing those timeless songs we couldn’t believe we were sharing this small stage with them nightly for a week and then on to a venue in Massachusetts’s called Lenny’s for more shows. They were supportive and made us feel welcome. We’d cross paths a few times as the years passed and see Phil now and then. I made sure to take my kids to see them one year and they graciously allowed me to bring them backstage to sign their tickets and say hi. The last time I saw them was when Simon and Garfunkel brought them out in the middle of their show in L.A. for a memorable moment. And now Don and Phil have both passed over to the other side, but we will always have the music…and for that we remain forever grateful.  Dewey Bunnell

p.s. did I mention Warren Zevon and Waddy Wachtel were in their band!

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Subject: RE: Re-Don Everly

Hi Bob,

 

It was a summer evening in 1971. My wife and I headed up Yonge Street from our downtown apartment uptown to the quiet Toronto suburb of North York, home of The Beverly Hills Hook and Ladder Club. Yes, our own Beverly Hills in the great white North. The club was on a circuit whose headliners were the likes of a young Kenny Rogers with First Edition, Johnny Rivers, Frank Sinatra Jr., Brenda Lee, Tiny Tim, , and, yes, The Everly Brothers. They were the cream of this mixed bag of careers that were heading up, or down or sideways. I was tracking my own radio jock career with the timeline of their hits from Bye Bye Love, their first million seller, in 1957 (CKRC Winnipeg) right through Bird Dog, (Till) I Kissed You, and then Cathy’s Clown, their biggest hit, in 1960 (and my own breakthrough at CKEY and then 1050 CHUM Toronto). They were always with me at every high school sock hop I dee-jayed. Bye Bye Love or Wake Up Little Susie would get things moving; but the slow dance at the end was always All I Have To Do Is Dream.

 

Anyway, back at the Beverly Hills Club. The first set was pure time travel, bringing up people, places and events with every oldie. They seemed to be feeling it and we were only vaguely aware that there was supposed to be a rift between them so we played it straight – inviting them to our table between sets as first Phil and then Don took their turns individually to do the obligatory chat with the local radio guy. Somehow the stars aligned and the down home character of the boys from Tennessee broke through the normal standoffish politeness and social distancing that gets you through another gig, another town. By the end of the second set, we were aware that they were staying over Sunday before heading off on the Monday. So my wife said, why don’t we invite them for Sunday dinner? So we did. They said they’d see. 

 

Five o’clock, the appointed hour, came and went – the chicken was roasted and the potatoes were scalloped. No Everly Brothers. What seemed like an hour was only 20 minutes later when the lobby buzzer sounded. And there they were both of them. Phil and Don. At our door, five years before McCartney Let ‘Em In. Apologies accepted. Dinner is a blur now because we were star struck. I remember playing some Hank Williams and Simon and Garfunkel and the records I produced with David Clayton Thomas back in the day. They charmed the hell out of us – boyish, somewhat reserved but no affectations. They don’t make ‘em like that anymore. 

 

RIP Don, RIP Phil.

 

Duff Roman

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Subject: Re: Don Everly

Hi Bob,

It was great to read your kind words about the S&G Staples show. We, in the band, had the best seats in the house for an unforgettable show. (I played guitar on the tour.)

I once asked Phil, “How did you feel when you heard “Let ‘Em In” for the first time?” He was so humble. He said something like: “I was never 100% sure that he meant ‘us’.”  I had to point out, “He definitely meant you and Don. He broke into “Everly style” two part harmony on that line!”

One correction: The Everly Brothers didn’t “open” for S&G. If you remember, Paul and Art brought Phil and Don out as special guests in the middle of the show. They were an important part of the concert. They sang four or five brilliant, moving songs, and then Paul and Art joined them for a few more. The idea to invite the Everlys on this tour was an inspired thing to do, and a true gift to everyone who was in the hall. 

Phil and Don Everly were beyond great. We all had a blast with them. Every single show, and in between shows as well. Their singing, their musicianship was second to none. They were completely down to earth, approachable, friendly and…so cool, beyond words. 

Shortly after the tour, I was standing on a NYC subway platform (14th St and 8th Ave). I looked over and saw Peter Asher, and went over to say “Hi”. Told him I just got home from the S&G tour. When I mentioned that the Everly Brothers were on the tour, he lit up, and asked, “You had Art and Paul and Phil and Don?” I said, “Yup!”. He asked, slyly, “You know what else you needed there?” “….What?”. He responded, “…..me and Gordon!”. Needless to say, another Everly super-fan!

As you and your readers know, you can’t underestimate the impact and influence of The Everly Brothers. We are amazingly lucky to have their music in our lives.

Sending my best from NYC,

Larry Saltzman

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Subject: Re: Can’t Stop The Rain

Hello Bob,   I confess to being a very enthusiastic fan of Mr Stills and most in the know would agree with me that Manassas is truly a 5 Star Double Record.   And it features an amazing collection of musicians.

I was a Junior at Bradley University in Peoria, IL in 1973/74. I owned the record and was thrilled when they played at the Field House.  That night I decided if I ever bought a home where I wanted to escape the city blues I would call it Johnny’s Garden

Fast forward to 2008.  I didn’t have to cut my hair(most was gone) or shine my shoes, but my wife and I bought a one room cabin deep in New York’s Adirondack Park.   It’s our little piece of Heaven and the sign reads Welcome to Johnny’s Garden.

Jeffrey Crohn

Mt Kisco NY

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Subject: Re: Can’t Stop The Rain

Hey Bob. Really warms my heart reading this. I actually connected Neal with Derek to perform on this track and love seeing your response to it. You totally get it. When Neal sent me the rough, the lightbulb went off and I knew Derek had to do what he does best for this song, and Derek obviously agreed. It’s ear candy mate…

And funny enough, my documentary about Tedeschi Trucks’ reunion of the Mad Dogs & Englishmen will be making its premiere very soon and happens to include music by… NEAL FRANCIS!

With love,

Jesse Lauter

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Subject: Hey It’s Neal Francis

Bob,

Glad you like the tune.  I wrote it before the pandemic with my friend David Shaw,  and as the world keeps changing, the refrain has become something of a mantra. Leon’s first record, Shelter People, and the first Manassas record are definitely among my favorites of that era, so I welcome the comparison.  Listening to Leon growing up gave me confidence to try singing. He succeeded in making moving, soulful music without having a voice anyone would call commercially friendly.

It was indeed an honor to work with the great Derek Trucks, whose playing is only surpassed by his humility. I’m honored on a daily basis to work with Mike Starr (bass), Kellen Boersma (guitar), and Collin O’Brien (drums).  They all played their asses off on this record and I can’t wait for you and the world to hear the rest.

Thanks for listening and turning on your readers.  Here’s hoping the speeding lorry is able to stay on the road.

Neal Francis

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Subject: Re: Summer’s Almost Gone

this one – soooo pensive “..they keep making new people..”     satisfying, yet painful…..

It made me laugh. My Throat Doc told me yesterday,

“Hey you’re still singing at YOUR age? – pretty good!”  AGE-ism – hit me hard – why not?

Singing is the last thing to go.  I’ve played at enough “assisted living” gigs to know that.

You just have to get the era right.  (You’ve mentioned that). Mary Gannon, Ace of Cups Band

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Subject: Re: Summer’s Almost Gone

Bob,

I’ve felt this. I know 100%. It is a gift actually. Women feel the cut earlier, especially if you had the beauty privilege. It’s harsh and immediate like falling off a cliff, you’re suddenly invisible, after the ‘are you sexy enough to keep me looking’ gaze is gone, and the equally disturbing (but still in a box) community sanctified motherhood fades too. If you’re not in the game where are you? If you don’t derive value from the group where is your value? Keep kissing the moment Bob, with music and ice cream and Felice and friends. The smaller you go, away from Bugatti’s and Bentleys to animals and snow and mountain air the more alive you feel. You’re almost there – I think the melancholy of loss of each hour and day, and really your life, will disappear too. 

Johanna Santer

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From: Dave Dederer

Subject: Re: Mailbag

Bob,

“…Joan Jett bereft of talent…” 

A recurring tangential sentiment in the Suzi Quatro thread.

Nothing could be further from the truth. 

We got to open for Joan once, at Seattle’s now-defunct King Cat Theater, when she played with the surviving members of The Gits as a fundraiser for non-profit Home Alive, which was founded in the wake of the murder of The Gits’ singer, Mia Zapata.

I met Joan backstage.  She was nervous and asked how big the audience was and whether it seemed like a good crowd.

I really liked hearing “I Love Rock and Roll” and “Bad Reputation” and the “Crimson and Clover” cover on the radio but wouldn’t say I was a fan, nor was I a fan of The Runaways.  I had no expectations.  

Then she came out on stage and opened her mouth and started singing and THAT VOICE came out.  Strong, perfectly on pitch, tuneful, with her own unmistakable timbre and emotional edge.  I’ve heard a lot of great singers in the flesh — Ann Wilson, Jeff Buckley, Thom Yorke, etc. — and I would put that moment with Joan right up there with the best of them.  So, not only has she done the hard graft of decades of work, as far as “talent” goes (if such a thing actually exists), she has it in spades.  In fact, if you want to put her “talent” in the context of the Quatro conversation, she had and has “that thing” in a way that Quatro did not, and that’s why she broke through and Quatro did not.  Period.  

dave

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From: Garrett Gravley

Subject: Re: Underwood & Aldean

Date: August 19, 2021 at 12:34:30 PM PDT

I’m a reporter in Dallas, and one thing that makes my job hard sometimes is that a lot of conservatives keep their guard up around me and refuse to talk to me every time I wear a mask.

This literally happened to me at a protest held outside a school board meeting just two days ago. And it’s happened to me many times before that. 

That’s never made me take off my mask ever, but it’s still insane to me that I’m treated as some sort of nefarious enemy all because I have a piece of cloth on my face. If that’s enough for someone to infer some political allegiance on my part, it was never about “personal choice.” 

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Re: Tour Cancellations

I just canceled the rest of a club run mid tour because of the lack of vaccination/negative test requirements in venues, specifically ones in AL and LA. Those states are among the darkest on the CDC map, and yet the promoters there have not yet joined the tons of others I see requiring them at their venues.

The one major thing I’ve noticed – the promoters who have stepped up (thinking specifically of Bowery Presents) have received an inordinate amount of violent backlash from fans on social media. Sometimes I honestly think the fans themselves will be the ones to bury the live industry.

Also a word of warning for the agents and promoters – the majority of conversations I had with my promoters on this run about what’s been happening with walk up was a little worse than we anticipated. Drop counts aren’t even matching up with the amount of presale tickets moved. I’ve been told by more than one promoter that shows that have pre sold say 1000 tickets are only hitting 75% attendance, sometimes lower. The industry is going to have to do some quick thinking to compensate if we want to make it through the fall without having to go dark again.

Zach Falkow

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Re: Tour Cancellations

Saw DMB @ Merriweather Post last night. Great show, band was tight and appeared well rested.

Two weeks ago they changed protocols starting with this show. Proof of full vaccine at least 2 weeks ago or current (48 hours) test. If you needed a test they would do it at the venue with results in 20 min. The band had put out an e-mail ENCOURAGING masking when social distancing was impossible (basically everywhere). Fan response to that request ~ less than 2% wore masks!

As with all DMB shows it was a very loud crowd sing along. Just the kind of activity that CAN get the virus flowing. So much for the socially conscious fan base.

Maybe this thing is gone by NEXT summer but if we don’t take all the right steps it’s going to be with us in perpetuity. Annual vaccines ~ new variants ~ more folks dead. Current death toll 628k.

Keep preaching!
Ole Olson

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Re: Tour Cancellations

Hi Bob. Here in South Africa we also have a strong anti- vaxxer Social Media campaign. We have a large,  vulnerable rural population which relies on the wisdom, or lack of it, by the elders in the community. Traditional medicine is still practised in most of these areas and enjoys majority support. The difficulty is to first get the support of the traditional healers and then the elders to endorse vaccinations. We have had a very slow rollout of vaccinations, mainly due to government incompetence and corruption, but fortunately the situation is rapidly improving. Keep up the good work. Robert Schroder.

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Re: Tour Cancellations

They couldn’t sell tickets. Even when a promoter wants to say this is the reason, they will defer to the act to give the “official” reason. It’s sort of an unwritten industry standard, even though I’ve actually never seen anything written into a contract where it specifically says, “If show cancels due to poor ticket sales, producer is strictly prohibited from stating this as a reason.” Maybe somebody else has seen it, but I haven’t.

Except one time. Bill Cosby, of all people, in the early 2000s, before the train wreck. Got on a conference call with the co-promoter and agent, and Cosby (who pretty much managed himself) was on the line. My partner spoke: “What do you want us to say? Scheduling difficulties?” Cosby didn’t wait for the agent to respond. “Tell them we didn’t sell any tickets. Tell them the truth!” And that was that.

Brian Martin

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Re: Tour Cancellations

We hosted the first house concert a week ago since the start of the pandemic (we’re fortunate, we have a nice studio space that is acoustically designed with full PA and lights that seats up to 67 guests). Anyway, we had skittishness, attendance was less than 2/3 for an artist that consistently sells out here when she comes to the US on her annual tour. We had everyone mask-up while indoors and everyone was happy to comply to again enjoy our intimate live music experience. We only had one person (the brother of a friend) who came and complained that he didn’t like masks — said “I’m a smoker and I find it hard to breathe with a mask”. By the way, he’s a really jolly-sized guy that looks like the poster-child for the kind of person that Covid just likes to swoop in and enjoy a stay, let’s just nickname him “Mr Pre-Existing Conditions”…

Don Adkins

Redondo Beach, CA

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Subject: Re: White Lotus

Hi Bob.

In your comments above, you use the expression ” a chink in their armor”  I know you are using that expression in accordance with it’s orginal meaning, “Middle English, a delightfully onomatopoeic word for a narrow opening or fissure. ”

That was my intention as well, when I used the expression to describe events in Afghanistan. I said that Russian and Chinese interests were rushing in to fill a political void, sensing a chink in America’s armor. And BOOM!   30 more days in the hole for me. Facebook once again decided I was too politically incorrect to be allowed on their innocent platform.  (The previous time I was incarcerated was for the sin of quoting Shakespeare during the impeachment trials – “first, kill all the lawyers”)

Apparently this expression has been deemed to be racist. And Facebook, bless its pointy little head, has deemed itself too pure a place for such a term.

I blame this 2012 article, amongst others.

https://slate.com/culture/2012/02/chink-in-the-armor-jeremy-lin-why-its-time-to-retire-the-phrase-for-good.html

Apparently I’m just too much of a rebel to be allowed on the platform. Forget killing all the lawyers .. just kill me!

cheers

Roxanne Tellier

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From: John Brodey

Subject: Re: Re-Connie Hamzy

I got to see it from two angles.  First at BCN in Boston when we would always go backstage at a show.  Despite being the guys/gals who played their records, the stars had no qualms about going after a very attractive date/girlfriend of yours.  Dennis Wilson was to be watched carefully if you wanted to see your date again that night.  

My favorite story involved one particular girl I was dating, who actually was a great great grandaughter of Susan B. Anthony.  She was very model-y, gorgeous with smokey eyes.  She would have fit right in Andy Warhol’s entourage.  

It was after a Stones gig at the Boston Garden and I’m talking to Ronnie Wood after the show as my girl Havens (Anthony) slides up next to me.  Ronnie gets a load of this and immediately asks me where can we go next.  Boston was an early town with not many late night choices so we end up going to my dumpy third floor walk up in Cambridge, just the three of us.  

I had an inkling about his game plan as I pulled out the tequila.  Shot for shot, a not so subtle competition was going to be all about the last man standing.  Who was going to get the girl?  We immediately got into some serious music conversation around my kitchen table as she was sitting quietly beside us.  We were so focused on our battle, we didn’t notice that she had been going shot for shot as well.  Just as we get into some obscure R’nB discussion, we hear a solid thunk just as her head hits the table.  Out like a light.  Ron looks at me and we both laugh as he says: Let’s call it a draw.  And with that he makes his exit into the night.  You couldn’t help but like Ronnie, the best.

As for the Def mention.  When I was the head of album promotion at Mercury, I popped into a couple of their Hysteria tour dates.  The stage set up was in the round and yes they were under the stage in a very nice open comfortable lounge type set up.  It was before they went on.  Even with my previous experiences I wasn’t quite prepared to see them all engaged in some degree of servicing all next to each other.  I could only admire the power of rockstarism.

John Hall had hit records with his band Orleans, was voted Ski Instructor of the Year at Hunter Mountain, and ultimately was elected to the U.S. House of Representatives for two terms…and in between he was one of the driving forces behind No Nukes! We discuss John’s activism as well as his musical history, how he moved to New York City and after a number of record deals ultimately struck it rich on Asylum with “Dance With Me” and “Still the One.” We go deep into the details of what it takes to not only have a hit record, but to get elected to Congress. Meanwhile, John’s still at it, he’s got a new album entitled “Reclaiming My Time.” You will thoroughly enjoy your time listening to Hall tell stories of his life and career!

https://podcasts.apple.com/us/podcast/the-bob-lefsetz-podcast/id1316200737

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/the-bob-lefsetz-podcast

https://www.stitcher.com/show/the-bob-lefsetz-podcast

Over the years Simple Minds have worked with the Rolling Stones on a number of occasions, mostly at various European festivals. It’s always an honour, albeit surreal. How come? Duh…Because they are the f*cking ‘Rolling Stones.’  And whilst others might refer to them as “Rock Royalty etc.”  – on a good night I have found myself thinking that what I was witnessing was more comparable to genuine ‘Zen Masters.’ A mere quirk of fate – you don’t have to do anything to be born into royalty. Whereas be ‘a master’ at anything? I don’t need to tell you that it takes colossal effort and sacrifice.

Other memories, particularly of Charlie? Well, we once shared a studio complex in the centre of Manhattan during the mid eighties, and although the rooms we worked in were of course seperate, we nevertheless shared the main area where they would all hang out for hours, to the extent I always wondered how the Stones ever got any work done?

To say that they could not have been friendlier, even encouraging, is an understatement. As individual characters they were as impossible not to love, as it is impossible for me not to love ‘the feel’ of say, Gimme Shelter,’ ‘Honky Tonk Woman’ and ‘Brown Sugar’ in particular.

Years later, backstage at a festival site in Belgium, I was delighted to be greeted by Charlie who informed me that he was having ‘A good old fashioned cup of English Breakfast tea’ – with China teapot and all – “If you fancy joining me?”

I certainly did fancy joining him. What a pleasure that was!

Rest In Peace Charlie Watts.

Jim Kerr

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In 1989, I was asked to join up with The Rolling Stones on their Steel Wheels Tour, as their tour photographer. I had worked with Keith and Ronnie before but didn’t know any of the other guys. I kept a low profile, doing my job and not bothering anyone. About a week in, while waiting in line for dinner at the buffet, I heard a voice from behind me say “Hey Paul, we have a day off in your home town next week. Can you show me around and help me find a place to buy a suit?” I turned around and was face to face with Charlie Watts. Now….anyone who knows me knows that I know ABSOLUTELY nothing about suits, but I did my research and on our off day, I called down to the concierge and ordered up a car and driver, called Charlie and he and I spent a lovely morning shopping for suits in Chicago!!

A week later we were in NYC, doing a 4 night stand at Shea Stadium. After sound check, I wandered in backstage and saw Charlie and his lovely wife Shirley sitting on a couch. He called me over and asked if I could do him a favor. Of Course- what do you need? Seems that Shirley wanted to grab a basket of apples and go outside and feed the police horses on the street. Would I accompany here and keep her safe? Once again- Of Course!! So Shirley and I went out to the street and fed the horses. Most likely none of the cops on horseback had any idea who she was, but it made Charlie so happy to see Shirley happy.

Every time I would see him after that he always asked me how my business was doing, and how my health was.

All in all, in 40 years of photographing musicians, I have never met anyone who was as nice (and classy) as Mr. Watts- also never met anyone his equal as a drummer!!!

 

Paul Natkin

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Thanks, Bob, for the insight into Charlie Watts and his place in the rock pantheon.

My high school band opened for the Stones in Dayton, Ohio, on their second US tour in November ’64.

The converted barn the promoter used for the show only had one “dressing room” for the bands. Brian Jones wasn’t even there. He had gone on to Chicago to prep for the next day’s recording session at Chess. Mick sat back in a folding chair with a hat over his eyes the whole time and Keith noodled in the corner with his guitar up to his ears as there was no practice amp. Charlie and Bill, on the other hand, were so nice and chatty and outgoing the whole time. They discussed gear and performance venues in the UK compared to the US with us and how much they were looking forward to recording in Chicago and so much more. Sadly, we were too cool to have a camera with us. But the memory is etched in my mind forever regarding the classiness of Bill and Charlie.

Larry Butler

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Hello Bob,
Like everyone, I am very upset at Charlie’s passing. He had a major impact on my life. I was born and raised in Toronto. As a young itchy teenager, my claim to fame was having pictures of Charlie Watts with my grandfather in Liverpool. He was a gunsmith and dealer in antique firearms. I was told that Charlie bought many items for his private collection from my grandfather, and visited my grandparents in Liverpool frequently.
The visits were well documented as my grandfather was also an avid photographer. Growing up in 70’s Toronto and having many pictures of a Rolling Stone made me a cool dude! I learned from my dad, that Charlie was a lover of history, and he was very interested in the American Civil War and The Wild West.

Fast forward…  I fell into the music business,  and it became my thing. In 1994,  I was the in house promoter/venue manager for Toronto’s RPM,  and the soon to open Warehouse. Rumours were swirling about a Stones club gig, and what venue would be fortunate enough to get it. One glorious life changing day, my phone rang and it was Arthur Fogel from CPI.  He asked me to hold a date for The Rolling Stones Voodoo Lounge Secret Warm Up Gig!!!!! It was made very clear that if the word leaked out, the gig would be cancelled. I kept it a secret for two weeks, and later I received a call that Michael Cohl wanted to do a private walk through of the venue. We met and it was a go however it had to remain a secret.

The big day came and all went well for set up and sound check. I met the Stone’s security people, and I decided to make the big ask. I gave them a brief outline of my deceased grandfather’s relationship with Charlie and I asked if it would be possible to say hello. I was not expecting much as I was sure Charlie had more on his mind than to say hello to some punter. Next thing you know, two very big men came and guided me to Charlie’s dressing room. He wanted to meet me!!!!!

I spent twenty minutes talking to a wonderful, humble, and passionate man about my grandfather, antique firearms, and military history. It was a day that I have never forgotten. I have met many rockstars. He was the coolest.
R.I.P. Mr Watts.

Regards,
Gareth Brown

________________________________________

I worked a Micheal Cohl/TNA presents Rolling Stone show in Fargo on Feb 17, 1999 for the “No Security “ tour. Since I was working backstage and in the dressing rooms I had to meet the band, every last one of them. Their long time head of security, Jim Callaghan, took me to meet them and one after one I shook hands said hello and carried on.. Charlie being the gent he was started chatting with me , where I was from and so on. Exactly like I expected him to be. I was always a huge fan of the band but Charlie was the man. Loved his effortless style, always playing the hi hat on the 2 and 4 and always deep in a shuffle/jazz pocket. Even after 23 years and over a thousand concerts under my belt it’s still a highlight..after the show the band wanted to watch “ Fargo” so we had a huge rear projection tv shipped up from Minneapolis. Us and the crew sat and watched the film together. Later that night I had drinks at the Holiday Inn bar and Bobby Keys was there.. couldn’t have been more perfect.

I remember back in 1989/90 when “Steel Wheels” came out the Simpson’s writers put a poster in Lisa’s bedroom that said “Steel Wheelchair” tour.. that was 31 years ago! A lot of the critics thought the band should’ve packed in years before that! As we all know they were wrong, the band kicked ass for decades to come and likely will continue to do so for a few more with Steve Jordan on the kit.

We’ve had a lot of loss lately but this one surprised me the most because it was the loss of an “immortal”
Or at least he was to me.

All the best and keep the letters coming!

Chris Frayer

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Four whole days

I sat outside the Stones rehearsal in 2013.

I heard Charlie and Keith put it all together piece by piece before anyone else arrived.

I saw Mick pose & primp – Keith ignore it and laugh – and even got into their private pre tour show at The Echo.

I’d seen The Stones many times before. But seeing the skeleton take its baby steps then become a full , stadium filling spectacle , was a real education.

Seeing me off to the side for such a long time , saying nothing and calling no attention to myself –

it was Charlie who came out to say hello.

It really was a GAS GAS GAS

Mark Flores

Guitar / SAG

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Truly one of the kings.

I worked as an assistant engineer on a jazz quintet radio session with him in 2006. I was just a kid, clearly nervous in the presence of royalty. He couldn’t have been cooler – joking with the crew, having a great time around jazz players, so happy to be talking about jazz and not the Stones.

I asked him if he knew Elvin Jones and he said “Oh Elvin was the best, real drummer, not like what I do”.

Two things struck me:
1. He played with FORCE. Even with a bebop style quintet, there was no mistaking that he played with clear confidence and intention. He generated a shocking amount of volume.
2. He smelled AMAZING. Obviously the best dressed in the room, but no one expects the drummer to be the best smelling individual on the session.

RIP to the legend.

Steve Weiss

________________________________________

Back in 2014 I got called to cover Charlie’s project The ABC&D of Boogie Woogie for Keyboard Magazine at the Iridium in New York City. I had a blast interviewing pianist Ben Waters before the show, so much so that he invited me back that night to catch the gig.

Afterwards I went backstage to thank him, and I immediately was standing next to Charlie in the club’s clandestine dressing room. Ben tells him, “Charlie, this is Jon. He’s a great jazz pianist.”

And suddenly, Charlie’s eyes lit up and his expression changed, as if I gave the password to the doorman at an exclusive after hours club. He immediately started chatting to me about jazz, and his favorite players and records. For a moment I was part of the band.

I’m sure I’m just one of countless admirers of his who he made feel special. But it made a lasting impression on me. Sometimes you meet your heroes and you wish you hadn’t. But Charlie was a giant on and off the bandstand. How many people can you say that about?

Be well,

Jon Regen

“Charlie’s good tonight”

And now there are two. Well three if you count Bill Wyman, but he split from the band thirty years ago.

This really fucked me up. In a way I’ve not felt since the death of John Lennon, which was also a surprise.

I knew Glenn Frey was sick. Bowie? As great as he was he was not one of the progenitors, one has to classify him as second or third wave. George Harrison? We knew he’d been going for treatment, we had our fingers crossed yet we were not expecting the best. But Charlie Watts?

The show must go on. That’s the music mantra. ZZ Top is still on the road. A band member passes and then the rest pick up and go. To the point where we now have ersatz classic rock bands on the road akin to the ersatz fifties acts in the seventies and eighties. Acts without one original member. One could ask why people go, but at this point it’s not about the mania so much as the songs. Memories. You close your eyes and the music sets your mind free and you go back to when your body wasn’t broken and your life was in front of you, which is no longer the case.

But we thought rock and roll was forever, that it would never die.

But that only seems to apply to Keith Richards. They say Robert Johnson sold his soul to the devil, but Keith got even a better deal.

You have to know the English sound in the U.S. was different from its home in the U.K. In the U.K. these blues-influenced groups had been a thing for years. While America was focused on bogus crooners, England was in the midst of a blues-revival, with bands everywhere, it was a nightclub scene. In America, we had discos, where people in jackets and ties still danced the Twist. Or maybe the Bossa Nova. And of course there was the folk scene. But this was long before Bob Dylan went electric.

And first came the Beatles. Fully formed. All the development was done off-screen. Vee-Jay had tried with their early material but they had failed. “Please Please Me”? “Love Me Do”? Those came after “I Want to Hold Your Hand” in America, which even came before “She Loves You”! It would be like Stanley Kubrick’s first film being “2001,” but only bigger.

And after the Beatles we got a slew of nice boys in suits singing ditties, but those weren’t the Rolling Stones. The Stones were scruffy. There might be a tie, but chances were Mick Jagger might be wearing a turtleneck.

Then there was Charlie Watts.

The Stones were edgy and dangerous when musical acts were safe, upbeat and sunny.

And their records were not big hits. They didn’t immediately go to number one. “Not Fade Away” stalled at 48. “Tell Me” did better, it made it to number 24. And it was written by the boys. But to say the Stones were in the league of the Beatles would be untrue. The older set, the ones in leather jackets, cottoned to them. The alienated too. But younger boomers? The Stones were on the periphery. Until the fall of ’64, when “Time Is on My side” went to number 6.

But really, everything changed in the summer of ’65. One tune made the Stones legends. It blasted out of the radio speaker unlike anything we’d heard before, with distortion, with attitude, this was a group that was not going to be corralled, who were doing it their way, THIS WAS THE ROLLING STONES!

And then came a slew of number ones, Top Ten records.

But the Stones weren’t an album band until “Beggars Banquet.” Musos spoke of “Between the Buttons,” but the first Stones album I purchased was ” Big Hits (High Tide and Green Grass),” with all the hits, in ’66. And I couldn’t get over “The Last Time.” That guitar sound!

Not that Keith Richards (sometimes billed as “Richard”) was the icon he is today. That didn’t happen until the heroin years in the 70’s, the news and the Annie Leibovitz photos. The Stones were a band with a frontman, unlike the Beatles where everybody’s identity was clear, the three axemen on the front line with the affable grinning Ringo behind.

Bill Wyman held his bass nearly vertically, and barely moved.

Keith sneered, but didn’t move much either. Ditto Brian Jones. Who did have that blond haircut that focused your eyes.

And then there was Charlie Watts. Who looked like he didn’t belong, like he’d stopped in to play a few licks on his way to his day job, in an office, with a dress code. And it was not only his clothing, but his visage, he was just keeping time, without making a show of it. And he had a simple kit when Ringo had a floor tom. It was all so simple.

And then came “Their Satanic Majesties Request.” Perceived as a bomb, it was better than that, but still a misstep. Yes, this was obviously the Stones’ experimental psychedelic album, six months after “Sgt. Pepper,” and it failed miserably in comparison.

But then came “Beggars Banquet.” A complete surprise. The Stones had gone earthy, they weren’t playing to the last row, listening you felt privileged to be in the room with the band. The subjects were dark. The instrumentation acoustic and spare. The lyrics were dark and meaningful. The word started to spread, this was a breakthrough.

Not that most people noticed. “Sympathy For the Devil” might be iconic today, but it was not a hit single back then, you heard it on FM rock stations, but most markets still didn’t even have one of those, and many listeners were still focused on singles on AM.

But by time “Let It Bleed” was released in December of ’69, momentum had begun. This was an album band. Bigger than anybody else but the Beatles. There was more FM rock radio. You heard “Gimmie Shelter,” and once was enough, you were closed. But it was more than that, mostly “Midnight Rambler” and “You Can’t Always Get What You Want,” which made the Chelsea Drugstore famous. “Let It Bleed” rocked harder than “Beggars Banquet,” it was slicker, but it sacrificed none of the darkness, none of the danger. It was the complete opposite of the sunny second side of “Abbey Road.” And critics and the press circled and with the band on the road at the same time, the tsunami began. Not every ticket was sold, but word was these were the shows.

And one thing you’ve got to know about the Stones is it’s just them. They’re really no different today from how they were in the clubs in the early sixties. There are no hard drives, no hidden players, sometimes it takes them a while to get up to speed. But when they’re going, you can feel the humanity, they never sacrificed it, and that’s what drew us to them.

So in the fall of ’70, they released a live album, not long after the “Gimme Shelter” movie that chronicled the disaster at Altamont. Which the hard core went to see in the theatre. Which ultimately became iconic, back in an era when every band did not have a documentary.

But “Ya-Ya’s” evidenced a new band. Brian Jones drowned and was replaced by Mick Taylor, a lyrical player truly responsible for the band’s second peak. And the live album was…

Rough.

We were not expecting this. This was not “Live at Leeds,” energy and near perfection. “Ya-Ya’s” was coarse. It was a concert recording. And the truth is your mind fills in so much at the gig, and if you listen to to the tape after, and it was tape back then, it’s rarely as spot-on as you thought it was. And the highlight was the covers, of “Carol” on the first side and “Little Queenie” on the second, and at the end of “Little Queenie” Mick Jagger uttered the above words.

Suddenly the focus was on Charlie Watts, whereas it had never been before. This was the era of the flamboyant drummer. Ginger Baker. Carmine Appice. And Ringo was Ringo. Charlie Watts was just part of the ensemble, he didn’t show off, he just kept time, but with this one thrown away line Mick made us notice, realize, that Charlie was not only a member of the band but he mattered, and he was having a hot night, and Mick realized this.

Our knowledge of the players and their playing was growing. But the truth is most listeners were not experts. We started to learn about rhythm sections, the importance of the bass and drums, but really in most bands those were secondary players, the singers and the flashy guitarists got all the attention.

And yes, we heard raves about the overplayers, but Charlie Watts?

With the legend boiling on the stove, then the Stones released the piece-de-resistance, “Sticky Fingers,” the album that not only fans had to own, but everybody had to own. “Brown Sugar” was as ubiquitous as “Satisfaction” six years before. And it had been six years, during which the sound had changed and most bands were history, some of the British Invasion acts were already doing oldies shows, but not the Stones.

And the Stones came back in ’72 with “Exile on Main Street,” which took most people decades to fathom, and went on a cleanup tour that made headline news. This was the self-professed “World’s Greatest Rock and Roll Band” on the road, the Beatles were gone, no one else was in their league, they were gods. The original four plus Mick Taylor.

But then Taylor left.

And Bill Wyman dropped out.

They were replaced, but then we realized how integral Mick Taylor was, Ronnie Wood is good, but not transcendent, which Taylor could be.

Wyman? Let’s just say it was an economic issue. He was replaced by Darryl Jones. Skilled, but not Bill. Somehow there was this magic between Charlie and Bill. No one put them on their list of best players, yet they represented the bottom of the best band, they’re what drove it forward, like a freight train.

And there were more albums and more stadium tours and…

Keith fell out of a tree, and it took him a while to come fully back.

Chuck Leavell was now the musical director.

And Mick? He was hanging with the glitterati and Keith put him down but there was no one else left, no original band from the original era, never mind with this many hits.

And going to see the Stones is different from going to see any other act. They’ve got production, they were one of the first to use it on a grand scale. But at heart it’s just a little old rock and roll band, rooted in the blues, trying to catch fire every night on stage.

But how much longer could they keep doing it?

Mick had a heart problem. He looked fortysomething, but the truth is he was seventysomething.

And then Charlie Watts had to drop out of this year’s tour. We bought the story, he would be fine, he just wouldn’t be ready for the shows. It was Charlie, but this had happened with other bands before. And Charlie was not known as a limit-tester, living the wild life.

AND THEN HE DIES??

My phone started going wild, I went into shock. This was unexpected and this was final. Charlie Watts gone? THEN IT’S NOT THE SAME BAND!

Jagger made solo albums. He tried to say he didn’t need the Stones.

Keith was pissed, but he followed in Mick’s steps, with the X-Pensive Winos.

Sure, Charlie put out jazz albums, but they were seen as a side effort, indulging his whims, his desires, they were not made for the mainstream nor did they connect with the mainstream. Charlie was really only one thing…THE DRUMMER FOR THE ROLLING STONES!

And his hair went gray then white, but he never changed. He was a rock, physically and in his playing. Somehow you thought he’d quit like Wyman, being the elder statesman, but he hung in there, and if you were up close and personal you realized it wasn’t as effortless as it looked, Charlie was sweating, he was putting in the effort, he cared, he was the driving force of the World’s Greatest Rock and Roll Band and he knew it. He didn’t have airs, but he knew how important he was, that he was the linchpin, and without him the sound wouldn’t be quite the same, there would be no band.

And to a great degree there no longer is.

Sure, Mick and Keith can still go on stage and do it, but now less than half of the original band is involved, it’s them and backup players, hired guns.

HOW MUCH LONGER CAN THIS GO ON?

We thought since it had gone on this long, it would go on forever.

But that turns out to be untrue.

There are only two Beatles left. So many others have passed. But it seems most before their time, as a result of misadventure. But now we’re getting to the point where natural causes, health problems not engendered by the road, are coming into play. No one lives forever, not even Rolling Stones. The music does, but those who made it do not.

But it gets worse. Despite how important this music is to us, it’s not anywhere near as important to subsequent generations. And the truth is the Stones never sold that many records anyway, it was a live act, and when the band can no longer play live?

And as great as the records were and still are, live you can feel it, you can’t sit there passively, the music penetrates you, you’re lifted physically and emotionally, it’s a religious experience.

And Charlie Watts was one of the gods delivering it to us.

And he knew it, but he saw it not as stardom, but as a job. That he was useful and he was needed. Laying down the beat for the World’s Greatest Rock and Roll Band.

And it starts with the beat. Without it there is no rock and roll.

Which means Charlie Watts was one of the foundations of rock and roll. The rest was built upon his efforts. He came first. Without him there was nothing. As we learned in Florida just recently, without a solid base the whole structure falls apart.

And then we have the aftermath. The shock, the denial, the anger…

We’re not quite yet at the depression. We are far from the acceptance, we don’t ever want to accept it. This is our generation. Turns out we didn’t die before we got old. We survived, and in many cases flourished, just like the Stones themselves. And one can look at the passing of Charlie Watts and contemplate your own mortality, but really it’s a crumbling of your interior superstructure, these heroes and their music kept you going. They added structure to your life. And if that’s gone what do you have left?

Memories.

And records.

But not live.

It’s got a backbeat, and you can’t lose it.

Today we lost rock and roll’s backbeat.

Charlie, you were humble, you never slacked, you gave it your all and we realized it. We hope you knew.

We certainly did.