Back to MONO! Let’s listen to some monaural vinyl records! Chapter 5: Mourning the loss of Charlie Watts

Experience the Energetic Drumming of Charlie Watts on Mono Vinyl

As the drummer for The Rolling Stones, Charlie Watts was a legendary figure who needs no introduction, captivating Stones fans for decades with his unique drumming style.
His jazz-rooted playing was the backbone of the Stones’ sound, allowing the band to confront various musical trends while maintaining their distinct identity through the years—a fact you can sense when listening to their work.

In this blog series introducing mono records, I’ll change our usual schedule to pay tribute to the recently deceased Charlie Watts by enjoying about five tracks featuring his drumming on 1960s mono pressings.

In the 1960s, both in the UK and the US, many albums—including those by The Beatles—were released in two formats: mono and stereo. Up until the late '60s, many singles were also issued in mono. In fact, until the mid-'60s, mono records dominated the market. Even though stereo has since become the standard, there are still many record enthusiasts drawn to the charm of mono sound. I’m not a hardcore Stones fan myself, so I don’t own all of their mono records, but coincidentally, on the day Charlie Watts passed away, I came across an American mono pressing of the Stones’ 1960s compilation LP Big Hits (High Tide and Green Grass) at a record store. When I purchased it, the clerk told me, “Charlie Watts passed away today.”

In this post, I’d like to share some of the mono mix tracks that showcase Charlie Watts’ drumming, taken from the LP I purchased and a few other mono records I’ve had for some time.
The selection is solely from my personal collection, so I’m sure many others are familiar with even greater mono versions of their songs. Please note that the impressions I’m about to share here are purely subjective, based on what I heard using a typical audio system, so the experience may vary depending on the playback environment. Nonetheless, if this article inspires you to explore mono records of The Rolling Stones or rock music, I would be truly delighted.

All the records I listened to this time were obtained for less than the price of a new album CD. In particular, many of The Rolling Stones' singles, while considered original pressings from back in the day, were major hits, meaning plenty of them are still in circulation, making them an excellent entry point for anyone starting with mono records.

1. (I Can’t Get No) Satisfaction

This is a widely recognized hit, but I heard the mono mix for the first time on the aforementioned Big Hits...! album. What stood out to me was how prominently the acoustic guitar resonated. Mick’s vocals, which I had always found to be cool and stylish, were rougher and more raw when listened to on the mono record.
Compared to the stereo version, Charlie’s drumming sounds much heavier and more bass-oriented. If the stereo version of “Satisfaction” could be described as the roots of punk, perhaps the mono version could be called the roots of hard rock—though that might be an overstatement.
Listening to this old mono record, which was originally released in the US, I imagine that The Rolling Stones must have stood out even among the young British bands that were part of what was called the British Invasion.

2. Get Off Of My Cloud

I listened to this song for the first time on the same mono record mentioned earlier. Compared to the stereo version, the bass and kick drum hit with an incredible amount of pressure, creating an almost hypnotic low-end trip. In contrast, Charlie’s signature drum fills (if I may call them that!) cut through the mix as if they’re singing. At the same time, the roughness of the vocals and the looseness of the handclaps combine to create a rebellious rock ‘n’ roll world. It even reminded me of the intimidating older guys at rock concerts in Japan back in the Showa era. The Rolling Stones were often compared to The Beatles in the 1960s, but when I listen to them now, with all the information we have, it brings to mind The Pretty Things—another British band known for their rebellious image, even more so than the Stones. Rock really was considered dangerous music back then.

3. Paint It, Black

This song is well-loved as a colorful pop number with a sitar, but when listened to in mono, it transforms completely. Mick Jagger’s vocals come across much closer, almost attacking you with a sense of dark magic. After the striking intro, Charlie Watts’ drumbeat crashes in with a thunderous intensity, delivering even more impact than the sitar. I vividly remember being overwhelmed by the raw drum energy the first time I heard it on a mono record. In stereo, the track feels like it’s on the cusp of psychedelic pop, but listening to the mono version, it gives off a pre-hard rock vibe. It makes total sense that the Stones maintained their status as a top group well into the 1970s.

4. She’s A Rainbow

This pop number is well-known in Japan for its piano intro used in commercials, and it’s notable for the elegant, flowing string arrangement by John Paul Jones, who later rose to fame with Led Zeppelin. First, Nicky Hopkins’ piano stands out. Although I’m not a pianist and can only guess, the touch seems more like that of a rock pianist rather than a classical one. This roughness—if I may call it that—is just perfect. When the vocals start, the distinct low bass and thunderous drums characteristic of mono records intertwine, giving it a truly rock-like presence. Mick’s vocals also sound wild, so the impression I had of this being a bold image-change song faded, and I came to realize it was yet another rebellious rock number from the Stones. When I used to listen to it in stereo, I found the dissonance at the end unsettling, but when hearing it on mono, it felt like an inevitable conclusion to the song.

5. 2000 Light Years From Home

In the stereo version, dissonant piano sounds emerge from both the left and right, with Mick’s vocals on the left and the Mellotron on the right, creating a spacious, psychedelic sound. However, in the mono version, everything comes at you from the same direction (center), trapping you in an inescapable space filled with those dissonant piano notes. The vocals and Mellotron feel bunched together, intensifying the sense of loneliness conveyed in the song, making the message feel even more poignant. The percussion sounds slightly louder, perhaps to cater to the singles being played in London clubs at the time. Charlie’s drums are trance-like, but the power of his signature fill (if I may call it that lol) comes through with unique intensity, a distinct feature of the mono record.

Now, I believe there are many more mono records that showcase the greatness of Charlie’s drumming. Upon researching, I found that classic albums from the late 1960s, such as “Beggars Banquet” and “Let It Bleed,” also have mono versions. If I ever get the chance to listen to them, I will definitely share my thoughts in this blog series.
Until then! “Back to mono!”

Mono cartridge used for this playback:

audio technica / AT-MONO3/LP Mono Cartridge

This cartridge is a high-output MC (moving coil) type, which allows it to be played on MC-compatible turntables and audio setups, making it a fantastic option for enjoying mono records easily.