Shattered
Saying Goodbye To Rolling Stones Drummer Charlie Watts (2021)
I originally published this on Medium in 2021 after hearing the sad news that Rolling Stones drummer Charlie Watts had passed away. Today would have been the drumming legend’s 83rd birthday, so I am reposting here. He was and is a huge influence on my drumming.
Shattered.
That’s the best way to describe how I felt as news of Charlie Watts’ death spread across social media on Tuesday. The highly-respected and influential Rolling Stones drummer was 80 years old.
Tributes to his refined playing, unquestionable style, and cool demeanor came from across generations and genres including his longtime bandmates, as well as Paul McCartney, Ringo Starr, Pete Townshend, Brian Wilson, Gina Schock, Questlove, Matt Cameron, Joan Jett, and countless others.
“He was the anti-drummer. He wasn’t performative to let you know how hard he was fucking working. He gave you the basic foundation,” Questlove wrote in Rolling Stone.
“A solid foundation, to me, is more important than the size of your drum set or how fast you drum or how loud you drum. And only real drummers know the value of Charlie Watts and the fact that he was the world’s greatest metronome.”
I discovered the Rolling Stones in elementary school because my friend’s mom still had a handful of her tattered ‘60s albums.
Among them was the U.S. version of their 1965 album, Out Of Our Heads. “The Last Time” immediately caught my attention and remains one of my favorite Stones songs of all time.
From there I time-traveled through their catalog, starting with the late ‘70s/early ‘80s trio of Some Girls, Emotional Rescue, and Tattoo You, before working my way back to late ‘60s/early ‘70s masterpieces like Beggar’s Banquet, Let It Bleed, and Sticky Fingers.
This was a couple years before I started playing drums, so it’s no wonder Charlie Watts has always been a foundational inspiration. (Along with Keith Moon, probably thanks to the same neighbor mom loaning me the Who’s Meaty Beaty Big and Bouncy.)
I’ve admired Watts’ playing for so long now that it’s hard to pinpoint what initially drew me to him. It’s probably because he always made it look effortless—like drumming for the Rolling Stones was the easiest gig on the planet (great inspiration for a delusional novice).
In that way, Watts held the same appeal as many of my favorite punk drummers who, like Mr. Watts, mostly played in service of the song.
Naturally, as grief-stricken fans processed the sad news, many shared their favorite Charlie Watts’ drumming songs.
Those heartfelt odes spanned his impressive six-decade career including everything from “Get Off My Cloud,” “Honky Tonk Women” and “Let’s Spend the Night Together,” to “Sway,” “When The Whip Comes Down” and “Start Me Up.”
Those are all fantastic examples of Watts’ importance to the Stones’ sound, but in my book the track that best captures his inimitable style—thick kick and popping snare, driving/pocket-y groove, and tasty fills—is “Shattered” from the album Some Girls.
As Questlove pointed out, Watts wasn’t “performative…He gave you the basic foundation”—and “Shattered” is a prime example. Watts’ backbeat is rock solid as the signature, serpentine guitar riff winds around it.
He works that hypnotic groove so masterfully for the next minute that it’s shocking when he finally hits a crash cymbal at 1:08. The band then drops into the beginning of the guitar solo where Watts does some sizzling hi-hat work, letting the handclaps drive the rhythm for a few measures before the snare comes back with its characteristic POP.
It’s not until 1:57 that he delivers a brief drum fill, followed by a series of tasty turnarounds that arrive sporadically starting at 2:30—all leading up to the crucial snare roll at 3:18. This is no flashy space-filler, but the perfect way to bring the song’s building tension to climax. Watts is lighting the fuse for the explosive finale.
Mick’s demented diatribe about New York becomes even more unhinged as the band barrels toward a hard stop. That’s when Watts delivers three of my all-time favorite drum fills. It starts with a snare/hi-hat stutter at 3:20, followed by a couple of one-handed tom fills at 3:27 and 3:31.
For my money, it’s a perfect drum track all the way through.
It’s impossible to guess how many times I’ve attempted to approximate those kinds of magic moments in my own drumming over the years. Charlie Watts’ wasn’t just an influence on how I play (although I’d never claim to be anywhere near his league), but also on my understanding of how to play drums in a rock and roll band.
I know I’m only one fan among many millions, but I’ll be eternally grateful for what he taught me about drumming and music.
Rest in peace, Charlie Watts.
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In FORBIDDEN BEAT: PERSPECTIVES ON PUNK DRUMMING (Rare Bird), some of today’s most respected writers and musicians explore the history of punk rock as viewed from behind the drum kit. Featuring Rat Scabies, Mike Watt, Tré Cool, Kye Smith, Lynn Perko-Truell, Phanie Diaz, D.H. Peligro, Joey Cape, Benny Horowitz, Laura Bethita Neptuna, Steven McDonald, Curt Weiss + many more.
Great write-up! Thanks for re-publishing!
As a long-time Stones fan,(but non-drummer), I always respected his tastefulness and restraint!
One of my fav Watts performances, though, is actually on "Where The Boys Go".
At about 2:17 - he does 5 single-stroke snare rolls in a row! A little unusual for Charlie, but my favorite part of the song!
A lovely tribute. I am fascinated by the fact that Keith Moon is your other big influence - that's a very left brain versus. right brain battle going on there! I have learned to love Charlie for all the reasons stated and in proud vermin's comment below as well. As I am always trying to instill on the kids in Rock Academy, the best musicians don't make it obvious how good they are. Cheers.