Charlie's Good Tonight by Paul Sexton (2022)

What can you say about the Rolling Stones which hasn't already been written? Quite alot as it turns out. Especially in a biography of the enigmatic Charlie Watts. Of all the Rolling Stones he was perhaps the one whose life was the least chronicled until now.

From the very first page, with Forewords by Mick Jagger and Keith Richards, this book by longtime Stones biographer Paul Sexton swings just like Charlie Watts did, never missing a beat. And it is certainly on time.

Basically Mr. Watts was a gentleman throwback to an earlier era. He even wished he had been born in the 1800's. He was the most satorially turned out of the band, eschewing the wilder clothes of his profession for the stately dress of an earlier era. He even owned, and wore, antique suits which once graced the body of King Edward III. They were the exact same build, as he found out after buying the suits at an auction, intending to have them replicated by his tailor.

He took pride in his unusual collections of jazz memorabilia, including unplayed 78 PRM's which he bought from an obscure record store in Vienna. These were original issues of some of the finest recordings ever made, still in the original record sleeves, where they remained, unplayed, in his collection.

He had an incureable case of OCD which he used to his advantage in his collections of cars, clothes, antique guns and of course in his music. His sense of humor is unchallenged in the world of rock and roll. Case in point is when a fan, at the conclusion of an interview, which he hated to do, asked him repeatedly for something, anything, to remember her encounter with him. He stood up and gave her his chair.

With his wife of 6 decades, Shirley, he had over 250 Arab Stallions. Some went for as much as $700,000 apiece. Together, the two ran a stud farm. He also collected antique carriages and owned hand bespoke riding outfits, although he didn't ride. Par for the course since he owned many fine automobiles, even though he didn't possess a driver's license. He simply enjoyed sitting in them.

The book was written by Paul Sexton, using private conversations he'd had with the drummer for about 40 years as the basis of the biography. These are carefully collated with memories of those who knew him best. There are stories by childhood friends with whom he played jazz music for the rest of his life. They even toured quietly when the Stones were not on the road.

On the road he missed home, often calling his wife and daughter Seraphina, for hours after a show, while his bandmates lived the wilder side of the business. When he was home he wanted to tour. His only encounter with the wild side of the business came in Paris, when during the early 1980's he had what Keith Richards describes as " a wobble of his own." Alcohol and hard drugs were his choice for just a few short years before he simply quit using them. No rehab. Just quit.

The book is written in the chronological order of his life. His passions, his love of family are all on display. Whenever possible he took his wife on tour with their daughter. In later years his granddaughter Charlotte was his companion on the road. It was a truly loving relationship they shared, and touching to read about.

The book is written in such a way as enables you to keep reading. The book's 330 odd pages flew by with little effort. I thoroughly enjoyed it and hope that others will read it with the same result. It is at once the highly personal biography of a basically private man. He never really understood what all the fuss was about.

And in the end, Mick Jagger had it right in 1969, when he famously remarked on "Get Yer Ya Ya's Out", that "Charlie's good tonight...." But then again he always was. This was a superb read. 

"Alone in My Home" - Jack White (2014)

Jack White is one of those rare musicians who influences so many other musicians yet never seems to have a big hit for himself. Other people have the hits with his songs, or even; as in the case of Loretta Lynn; with his superb abilities as a producer as well as a performer. Sort of like what Rick Rubin did for Johnny Cash. This live performance on Conan O’Brien’s show highlights all of those skills plus his ability as a writer to really hit the heart of the matter in a song.

I can’t figure out whether I like the music best, or whether it’s the lyrics. But then again it’s probably the performance itself which caught me by surprise. The white make-up; the unusual mixture of the instruments; the violin part; all come together in this number, making it impossible for me to ignore. (The studio recording also has a great piano part, which sounds slightly off but adds something of it's own to the song.)

After listening for several days it was impossible for me to stay uninvolved with the recording. The song is very simply composed; and can be played using the basic chords of E A and D. It’s the rhythm that takes a few tries in order to make the words flow as smoothly as they seem to come from Mr. White’s mouth. (I’m still working on that.)

The lyrics are really hauntingly beautiful, reflecting some of my own feelings about issues of trust. I especially like the verse about the ghosts; he paints them as opportunists who know exactly how to haunt him, even though they may not exist. Mr. White knows better. The ghosts are the products of our own insecurities, which in turn gives the non-existent “ghosts” the power they seem to have. Just as with Jacob Marley, we each forge our own links one at a time.

Anyway, you've seen him with the Rolling Stones; on late night TV; and heard him on the radio. Now, with this appearance on Rooftop Reviews, Jack White has finally made the big time.

“Alone In My Home”

(Jack White)

This light that shines on me tonight

Turns on when you wander through my door

And your friends won't see you to the end, I'm sure

But you love them anyhow

Lost feelings of love

Lost feelings of love

That hover above me

Lost feelings of love

Lost feelings of love

That hover above me

The ghost that visit me the most, drop by

Cause they know they can find me here

And they claim to be held from me in chains, but come on

They're guilty as sin my dear

I'm becoming a ghost

Becoming a ghost

So nobody can know me

I'm becoming a ghost

Becoming a ghost

So nobody can know me

These stones that are thrown against my bones, break through

But they hurt less as times goes on

And though alone, I build my own home, to be sure

That nobody can touch me now

Yeah

All alone in my home

Alone in my home

Nobody can touch me

All alone in my home

Alone in my home

Nobody can touch me.

"Act Together" - Ron Wood (1974)

The Rolling Stones needed a new guitarist when Mick Taylor left the band in 1974. And what a fit they found when they took in Ron Wood. Although he would not become an “official” member of the band for a few years, his style influenced the Rolling Stones to such an extent that the Rolling Stones of today is almost indistinguishable from some of Mr. Wood’s earlier work on his 1^st solo album “I’ve Got My Own Album to Work On.”

In this live video; colorized at a later date; Ron is joined by Keith Richards for this great performance of “Act Together” from Mr. Wood’s solo album. Notice that Keith Richards is playing the piano for this one.  Mr. Wood and Mr. Richards later combined their talents in a group called The Barbarians; or, as they have become known; the First Barbarians; as the group had a couple of different incarnations.

Keith Richards vocals are almost identical to Ron Wood’s. They harmonize vocally as well as they weave their guitars while playing for the Stones. It’s no wonder these two got along so famously.

If you really want to read about how the two met and blended their musical abilities read Keith Richards incredible autobiography “Life.” The sections dealing with the making of Mr. Wood’s solo album; with a little help from his friends; is a great insight into how the Stones sound evolved from the more “poppish” musical genre into the cutting edge band which it still is today. This video is a great place to start.

"All or Nothing" by Small Faces (1966)

This song was used in the film “Made in Dagenham” which deals with the Equal Pay Act in Britain, and was passed in 1970 as a result of the Ford strike by sewing machinists in 1968. The law went into effect in 1975; we’re still waiting for ours here in America; the champion of Human Rights.

The song is a real old favorite of mine, coming from the first album by Small Faces, the group which later became known as Faces, with Rod Stewart and Ronnie Lane; of future Rolling Stones  fame; on guitar. Their hits eventually eclipsed the brilliant work done by the band when it was under the leadership of Steve Marriott and Ronnie Lane; shown here; before they left the band in 1969.

Although Faces was tremendously successful; commercially; for me they never came up to the artistic achievements of Small Faces earlier works; such as “Itchycoo Park”, “Lazy Sunday” or even the concept album “Nut Gone Flake”, which was a heavy influence on other pop artists such as Pete Townsend and the Kinks’ Ray Davies.

According to Steve Marriott’s mother, this song was apparently written by Steve Marriott about breaking up with his girlfriend. However, Steve Marriott disputes this, claiming the song is about Rod Stewart’s first wife breaking up with Rod Stewart. Personally, I believe Steve's mother.

This song is from the album “From the Beginning" which is on Decca records and was released at the beginning of 1966. The original lineup of musicians was changed once during their short tenure; Jimmy Winston, the keyboard player, was replaced by Ian McLagan around the time of this film from BBC television.

"Who I Am" by Pete Townshend (2012)

Art schools, or colleges, in England during the late 1950’s and early 1960’s, produced some of the most influential musicians of the modern age. From the Beatles to groups such as the Kinks, Rolling Stones and even the Who, these “art schools” played a tremendously important part in the cultural upheaval that defined the 1960’s. With it came the friction between 2 generations; one tested by 2 world wars and an economic Depression; the other born after those hard days were over. It’s almost as if, after fighting for so long, the older generation had to fight with someone, and so the new enemy became the new youth culture.

“A Quick One”, performed on “The Rolling Stones Rock and Roll Circus”, was the initial influence for the later creation of the rock opera “Tommy”. The song had been born of necessity as the group had 10 minutes left to fill an album, prompting Pete Townshend to write the 10 minute “mini-opera”. It is largely autobiographical, as were parts of “Tommy.” This was a very fascinating section of the book for me, as I have always been a fan of “A Quick One”, and having its meaning explained in terms of the author’s own experiences growing up makes it even more enjoyable to listen to. The story involves Mr. Townshend’s growing up in a very dysfunctional home, with his mother having an intense affair, which split the family apart and had Pete living with his grandmother, who was also equally dysfunctional. It was during this period of his youth that he was molested. These early years would come to define much of his life and the choices he made regarding his expressions of anger and violence in his work.

Exploring the early work of bands such as The Small Faces; later The Faces with Ronnie Wood and Ronnie Lane; Mr. Townshend is able to paint a vivid picture of the arts scene in England at the time, and which would then reverberate around the world. His work on his solo albums, as well as the story behind his all too brief collaboration with Ronnie Lane on “Rough Mix” was of special interest to me. That album, which is one of my favorites, encompasses folk, country, rock and even a wonderful number called “Street in the City”, in which Mr. Townshend accompanies an orchestra with his acoustic guitar to create a musical portrait of a city street on a “working day.” I was surprised at the many characters in that song who come from the author’s own childhood.

This is also the story of Jim Marshall and the creation of the Marshall Stack amplifiers, which were a great leap forward as they allowed the musician to recreate, in person, the power formerly relegated to the studio.  Also of great interest are Mr. Townshend’s own contributions to the fusion of light and sound in order to bring to life the visions in his own head and create a “new” form of musical expression.

In so many ways The Who enabled the arrival of bands such as Led Zeppelin, and even Jimi Hendrix, who first came to Pete Townshend for help in creating his sound using the Marshall Stack system. But the music scene was a two-way street, and Mr. Townshend freely admits his admiration for groups such as The Kinks, and their early attempts at rock operas such as “The Village Green Preservation Society” and their later album “Arthur-The Fall of the British Empire”, as influences on his own work.

From Mods and Rockers, and on through “Quadrophenia”, Mr. Townshend hacked out a new avenue of approach to the music of a younger generation. His destruction of musical instruments as a form of aggressive expression became a mainstay of the earlier Who performances, and the author credits the beginnings of his hearing loss to the explosion on the Smothers Brothers Comedy Hour in 1967.

Through his manic depression, drinking, and limited use of LSD, the author is honest and candid about his own failings, and unflinching in his criticism of others when they deserve it. In exploring his beginning interest in the teachings of Meher Baba; which eventually became his spiritual haven; he lends a unique insight into one of the world’s most well-known rock icons.

Surprisingly, though they were all close friends, they never did seem to share the camaraderie of let’s say the Beatles, or even the Rolling Stones. Mr. Townshend puts that down to two things; the first being that he is, by nature, a loner; the next being that he has never been comfortable with co-writing anything, let alone a song. In spite of their many differences over the years, the 4 men remained close until the untimely deaths of both Keith Moon and John Entwistle.

The author has penned one of the better rock autobiographies, and this book stands tall, right alongside them all. Being a rock star has a certain allure, but beneath it all, they suffer from  the same insecurities which afflict us all.