CHARLIE WATTS AND THE ABCD OF BOOGIE or HOW I MET A ROLLING STONE: by Mark Saxby

The first time I saw Charlie Watts was from the back row of Earls Court in the summer of 1976. He was on stage about a hundred and fifty yards away and you'd have to say looking somewhat dwarfed by a  twenty foot inflatable ....  bestridden with an alarming vigour by Mr Mick Jagger. 

I've seen Charlie play with the Stones many  times since and on quite a few occasions Ian Stewart would be there too. He was a founder member of the Stones, sacked by Andrew Loog-Oldham for "not looking right", who'd stuck by them as road manager ["Hurry up you horrible three chord wonders"], friend and boogie-woogie piano player who famously refused to play any minor chords. He once stormed out of the Some Girls sessions saying the band sounded like Status Quo which must have told them. By all accounts the Stones adored him. 

Earlier this year friends and admirers of Ian Stewart recorded a tribute album to him and amongst the personnel on that record were the band I was going to see tonight : Charlie Watts, two world-class boogie pianists [Ben Waters, Axel Zwingenberger] and double  bass player [Dave Green]. I'd seen Charlie Watts in stadiums all over the world, his image splashed over giant video screens, his drums amplified by  p.a. systems of unimaginable power. And now I was going to see him play in a Pizza Express.

Soho in London might not be the same as it was in its heyday of Francis Bacon, the Colony Room, the Coach and Jeffrey Barnard but on a late June evening having a couple of beers on the way to see Charlie Watts it's still got it. I was, as they say, buzzing. And of course it wasn't any old Pizza Express but the basement in Dean Street that's been one of London's top jazz clubs for years.

First past the bouncer who looked like he could break walls with his head [but turned out to be polite and friendly] then down the stairs to a strange and surreal scene-----a packed out Pizza Express with two grand pianos and Charlie Watts's Gretsch kit up on a tiny stage. We were shown to our table where the emcee for the evening introduced himself as Bob Blizzard, an ex-MP who had founded the House of Commons Jazz Appreciation Society. Curiouser and curiouser. Apparently we were sat at the musicians' table ----ah, no cutlery and next to the toilets. We ordered  beers and wines and salads and sat amazed at how civilized a gig could be.[I'd resisted the temptation to ask for the Axel Zwingen burger.]  

After Bob's intro a familiar figure brushes past me and takes his seat behind the drums. Dapper and trim of course. I'd spent my entire teenage years listening to the Rolling Stones and nothing else [apart from two  songs by the Who]. Charlie Watts has been one of my idols for thirty-five years. I won't apologize, this was doing my head in. In a very good way.

The music was laid back New Orleansy swing. Jazz was Charlie's first love and blues was quite possibly his second and he was grinning from ear to over there. There was his familiar "no hi-hat on the snare beat" style and that body-swerve as the drums appeared to be playing him. The Stones always had a piano in the band and this music went back to the roots of their sound. The electric guitar never really took control in New Orleans and the piano was king, with players like Professor Longhair and the genius that still is Fats Domino.  The electric blues of Chicago had its great piano players like Otis Span and Pinetop Perkins who played with the mighty Muddy Waters. Chuck Berry depended on Johnny Johnson more than he was ever likely to admit. All were big influences on the Stones and tonight we were being taken back to those roots.

On stage the band took a couple of numbers to find their feet.The piano playing was as good as you could hear but Ben Waters' singing could best be described as enthusiastic. Things picked up when a  classy girl singer took to the stage. Sad to say the cold beer  and Italian red wine double-whammy was starting to have a very relaxing effect and I completely missed what her name is. Sorry. But she had a great husky voice and seemed to pull the band closer together. And it was a privilege to hear those classic Charlie Watts moves and mannerisms in a completely different band. The only song they did that I knew was Route 66 which was more Nat King Cole than Chuck Berry and certainly none the worse for that. The first song off the first Stone's album forty seven years later---I loved it.

And then it was over. The audience cheered the roof off, and Charlie's standing around shaking hands, chatting and smiling. He looked so friendly I thought "I'll give it a go". "Thanks Mr Watts. I thoroughly enjoyed the whole procession of events." Before I know it we're having a chat and a very nice one too. I know everyone says it but he is so unaffectedly nice. He's lived through all that mayhem with the Rolling Stones---Altamont, drug busts, Exile, --- and come out the other side like this. Safe to say he'll never read this blog----when I tell him I write for the Stones Facebook page he throws his hands up in horror saying "Good Lord! I haven't even got a mobile phone."

As I go to leave he says "I thought you were staying for the second show." But I know it's been perfect up to now and another two hours on the musicians'  table with   my borderline-alcoholic companions could lead to complications. Plus I don't have fifty-five pounds to spare for another ticket.

" I've had a great night but I've got to write my review. I'll make sure it's a good one------try to get you some more work."

Charlie grinned and I turned and headed back into Soho. Marvellous.

  

"TUESDAY NIGHT AT THE MOVIES"

A review of "Ladies & Gentlemen--The Rolling Stones". By Mark Saxby  28th September 2010

 "Ladies & Gentlemen--The Rolling Stones" is a concert movie of the Stones filmed over four nights on their 1972 tour of the United States. Originally given a cinema release in 1974 it shows the Stones at Fort Worth and Houston during the Exile tour and, believe me, it's what we English like to describe as "the dog's nuts". 

And now, as the Americans would describe me, this "lucky son of a bitch" is clutching a ticket to "the world premier of the newly restored and remastered version of the legendary concert film." I'd never been to a premier before and suppose I was expecting flashbulbs, glittery gowns and a grinning John Travolta or two. But this turned out to be a bit more low key, huge security-men aside. A smattering of celebs in the bar---Larry Lamb, Eastender murderee and dad in Gavin and Stacey, Bobby Gillespie from Primal Scream, and several others who I should have known but didn't. However we did have a genuine Rolling Stone in Bill Wyman who turned up with young family in tow. Aside from red wine costing a hefty six pounds for a tiny plastic glass you'd have to say I was happy.

Before the main event they show  a filmed interview with Mick Jagger in which he talks about the film, highlighting the perils of glittery eye make-up melting under the lights, his surprise at the tightness of the band's performance, the seventies style camera-work, Mick Taylor's awful shirts and wonderful guitar playing. Then after a spoken introduction from Anglo-Canadian deejay institution David "Kid" Jensen in which he reveals he'd been behind the band on stage several times on the '72 tour [how lucky is that?] the film starts.

There's some moody shots of stage lights and murmur then the band emerge on stage with Charlie tickling the drums and the guitarists checking for tuning. The beautiful thing is that it's all in tight close-up-----you feel like you're practically with them----and the film quality is wonderfully grainy and deep. And the band are bunched together, not spread out over yards and yards like at the old Wembley.

I'd heard that when this film first came out  the soundtrack was in something called Quadra Sound, mixed by a sound engineer at the "movie theater" at 100 decibels to give the audience the sensation of being in the middle of the crowd at the gig. I had hoped we might get a reprise and looked round in vain for a bearded technical type at the controls of some vast unfathomable mixing desk----no joy. But the sound was still spectacular as the show kicked off with Brown Sugar. Then Bitch, then Gimme Shelter. Then a stunning Dead Flowers. 

The brass section was the main one from Exile on Main St.---Jim Price on trumpet and Bobby Keys on sax and spirited tambourine. [Check out Ronnie Wood's book for some scandalous Bobby Keys stories]. The piano player is Nicky Hopkins. He played on She's a Rainbow, Coming Down Again, and  on all the albums from Between the Buttons to Black and Blue. Apparently he rarely toured because he'd never been well. The Stones have had some great piano players  but Nicky Hopkins was special, and we're lucky to have him in this film.

Jagger's wearing a succession of jump-suits made by Ozzie Clark---"the best cutter in the business" immortalised in David Hockney's "Mr and Mrs Clark and Percy". Jagger in this gear singing at the same microphone as Richards gives us possibly the most iconic image of the Stones-----this is really where the Mick n' Keef thing springs from. And Keith's harmonies with Mick are such a weapon and the one mic thing such a brilliant visual. 

And of course Charlie Watts is wonderful, playing with that loping style that has to be him. Spotters amongst you will probably already know that he doesn't play the hi-hat on the snare beat, giving the Stones groove that characteristic feel-----non-spotters will probably glaze over at this information. And then I'm sitting here watching Bill Wyman matching Charlie's rhythm and feel seamlessly and without effort, a great stage presence with his gum-chewingly slightly sardonic demeanour and the bass at a suitably rakish angle. And then I look over a couple of rows ahead to where Bill Wyman's sitting and think how strange it must be for him to be watching this.

Mick Jagger was right about Mick Taylor's shirts. Dreadful. No matter what he wears Taylor never really looks like he's in the Stones. He's got the stage presence of a mop on anti-depressants. The only time he looks slightly animated is when one of Jagger's more outrageous dance-steps seems to genuinely disconcert him. The Stones would have to wait for Ronnie Wood to bring some Faces bonhomie and genuine chutzpah to the show. But Taylor's guitar playing is stunning. Some of the close-ups of his soloing are really quite beautiful. The Stones never sounded so good----Taylor soloing round Keith's riffing on Happy and Tumbling Dice. You watch this performance and you think how far they'd come from the Hyde Park gig in 1969. I realize this is the best concert film I've ever seen. The atmosphere amongst  the audience is like being at the gig of your life with everyone looking round at each other slack-jawed after every song. I am not kidding------I'd expected to enjoy it but not this much.[There was a lovely moment when Jagger's introducing the band on film and the whole cinema audience applauds when  Bill Wyman's announced.]

And Mick Jagger's voice is strong and he dances great---a total star. This is the template for all those wannabe bands that followed-----New York Dolls, Aerosmith, Rod [I want to be Mick] Stewart and so on.  And his chat in between at these gigs is genuinely charming. [Have I gushed enough?]

And the songs keep rolling at you. Love in Vain. [I can't help but notice that Bobby Gillespie takes a toilet break during this one. Not you favourite Bob? You missed a gorgeous Mick Taylor slide solo.] Sweet Virginia, You Can't Always Get What You Want, All Down the Line, Midnight Rambler [with iconic "Jagger whipping the stage with belt' moments]. The playing is extraordinary. And I'll stick my neck out and say I couldn't hear any overdubs. For those not in the know a lot of so called "live" albums are overdubbed later in a studio, often replacing whole parts . The drums are reputedly the only live bit left on "Live and Dangerous' by Thin Lizzy. Apparently it's only the crowd noise that's live on the Eagles' "live" album [allegedly]. But this Stones recording seems totally genuine, and even more impressive for that.

Then Keith kicks off Bye Bye Johnny, then Rip This Joint, Jumpin' Jack Flash, and finally Street Fighting Man that takes the roof off. The credits roll and the cinema audience claps and whoops and cheers and stomps. I wander out in a bit of a daze then decide to go back and try and get a photo of Bill. I see him looking harassed, being guided through a crowd of anorak autograph hunters, so I turn back around. "Ah, leave him alone", I think, "He's already given you a great show tonight."

This Day in History

In 1966, The 'Rolling Stones 66' 12 date UK tour kicked of Royal Albert Hall London. Supported by The Yardbirds, Ike and Tina Turner and Peter Jay and the New Jaywalkers. Both Keith Moon and John Entwistle from The Who were in the audience. Rolling Stones UK tour

Exile on Main Street - "All Four Sides of It"

Mark is back with a review of 'Exile' 

'Exile on Main Street - All Four Sides of It'
by Mark Saxby 20/09/10

I was on a plane a while back, flicking through the entertainment thingy on theback of the seat----Die Hard 3, Antz, England World Cup win 1966---and there she was : Exile On Main Street. Here we go. So I put the headphones on and listened and I was staggered. This was the best music I'd ever heard. 

Mind you I'd known that since Christmas 1975. This was when my mum, giving up any hope of me listening to Mozart, gave me Exile On Main Street. I didn't fall in love with it straight away---there was no Brown Sugar on it, no Paint It Black---but in those olden times you didn't have many records so you had to play the ones you had. 


A couple of weeks later and I was smitten. [  I'm looking at my original vinyl copy now-----I never saw it as a double album but four sides. The Tumbling Dice side, the acoustic second side and so on. The cd version loses that and that's a shame. Maybe they should re-release it on four discs.] The first thing I really liked about the Stones was Jagger's snarly voice----I loved the way he twisted the vowels and how he sang full throttle. You'd spend hours trying to work out what he was saying---"Yaeigh, Stray that froolin rynow"?"” No, that can't be right." [They made a big mistake when they started printing the lyrics on Stones records].This album has some of Jagger's best screaming contortions----listen to the scream on Rip This Joint that crashes into Bobby Keys's sax solo, or the outro to All Down The Line. His voice could also  be  tender, as in the highly affecting Shine A Light----”So you stretched out in room ten o nine”. Exile came towards the end of an era for Jagger ----after the next album [Goat's Head Soup] he changed the way he sang, no longer opening the throat to howl in that way. If he hadn't changed he probably wouldn't be able to sing today.   


Then there's the guitar playing. "Five strings, two fingers and one asshole" is how Keith Richards described his technique. He'd taken what he could lift from Ry Cooder in 1969 and developed it and made it his own. The open-G tuning was the key to his sound, sometimes played on custom-made five string guitar, often played with a capo. Of course I knew nothing of this in 1975---I just thought he was magic. He is, after all, the human riff.  


Mick Taylor was also a wonderful guitar player, elegantly bluesy and with his own thing, especially on slide. I don't think he got the credit  for how much he contributed to the Stones' reputation as the best rock'n'roll band. They were never the same force without him.But back in 1975 I just studied the sleeve photos for weeks and thought ,"Mick Taylor, he's  magic.". If you listen on headphones you can hear how lovely the guitars play off each other.    


Marianne Faithfull said of the Stones that in 1972 the music was dripping from their fingers. Exile On Main Street is a  mixture of  blues [Chicago and delta], rock'n'roll,country,and gospel, and you have to say it's extraordinary that an English band can pull it off so totally convincingly.  Maybe someone should remind them they're the best Country band in the world. The best band ever to play American music is English. [Looking at my copy again I notice I've still got the Exile on Main St. postcards. How did they survive? And for some reason I'm reminded of when one of my speakers died and I spent a week listening to the right side of Exile, then swapped the speaker over to hear the left. Maybe I should have got out a little bit more.] 


Bill Wyman  wasn’t keen on this record----because it didn’t make any money he said.[Probably a bit miffed about everyone else  seemingly getting in on the bass playing.] Mick Jagger didn’t think it was all that great saying there was nothing off it that was any good live. [Apart from Tumbling Dice, All Down The Line, Happy, Shine A Light and Sweet Virginia I suppose.] But now, nearly forty years after it first came out, the album’s been re-released and it’s gone to number one. No other record has achieved that. It’s  successful because it hasn’t dated. Bobby Gillespie, Jack White, Kings of Leon, all would bite your hand off to make it now. 


The record was slagged off when it first came out for sounding muddy. But it’s just the sound of a  band with a great feel playing in a sweaty basement. If it had been cleaned up and soaked in studio effects it would have been rooted  to a certain era-----you can’t hear, for example, Sergeant Pepper without thinking Sixties, Carnaby St., funny paint job on an otherwise perfectly useable Rolls Royce. When you hear Exile On Main Street you hear American road movies, the desert, sex and Jack Daniels. You’d never get tired of that.    


Back on the plane I sat smiling and gurning through sixty five minutes and forty five seconds [not including the gaps] of my favourite record. Then I munched on a Geruda Airlines Pot Noodle and  watched a bit of Die Hard. And then I thought "You know----I’m going to have to listen to it again. Get me a nice big vodka and tonic. Here we go. All four sides.”