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Discussion in 'The Sound Hound Lounge' started by GibEpi89, Jan 29, 2014.
Let's not go overboard now.
"Ringo's a damn good drummer. He was always a good drummer. He's not technically good, but I think Ringo's drumming is underrated the same way Paul's bass-playing is underrated. Paul and Ringo stand up anywhere with any of the rock musicians." -- John Lennon Playboy magazine interview (1980)
"Ringo's got the best back beat I've ever heard and he can play great 24-hours a day." -- George Harrison from a 1974 interview
"Ringo is right down the center, never overplays." -- Paul McCartney from an interview in Musician magazine (Feb. 1988)
Kenny Arnoff -- "I consider him one of the greatest innovators of rock drumming and believe that he has been one of the greatest influences on rock drumming today... Ringo has influenced drummers more than they will ever realize or admit. Ringo laid down the fundamental rock beat that drummers are playing today and they probably don't even realize it. (Modern Drummer,Oct. 1987) . . Ringo always approached the song more like a songwriter than a drummer. He always served the music." (Modern Drummer, Dec. 1987)
Editor of Modern Drummer magazine, presenting the Editor's Achievement Award to Ringo -- "What is beyond question is Ringo's impact on an entire generation of drummers who first became drummers as a direct result of seeing and hearing him play in the early days of The Beatles. Literally hundreds of thousands of players -- including some of the greatest drummers playing today -- cite Ringo as their first motivating influence."
Max Weinberg -- "D. J. Fontana had introduced me to the power of the big beat. Ringo convinced me just how powerful that rhythm could be. Ringo's beat was heard around the world and he drew the spotlight toward rock and roll drummer. From ;his matched grip style to his pioneering use of staggered tom tom fills, his influence in rock drumming was as important and wide spread as Gene Krupa's had been in jazz." (The Big Beat, 1984)
Jim Keltner -- "I will always be there to support him. He's more than a dear friend. He's like an idol. He's everything to me. I still think of him musically every time I sit down and play drums. He's a very important guy to me. (Discoveries magazine, April 1993)
Phil Collins, drummer for Genesis -- "I think he's vastly underrated. The drum fills on A Day In The Life are very complex things. You could take a great drummer today and say, 'I want it like that.' They wouldn't know what to do." (interview for The Making of Sgt. Pepper, 1992)
Alex Van Halen -- " One of the most interesting things about Ringo is how he manage to maintain a level of self-esteem -- in addition to being a great player, of course. But he wasn't overshadowed as a human being by McCartney, Lennon or Harrison. I think he did a wonderful thing for drums because drummers would see him and think, "Hey, he's part of it, too." (Modern Drummer magazine, July 1993)
Andy Sturmer, drummer for Jellyfish -- "Ringo is a great guy and really amazing drummer. He has that feel that's between a shuffle and straight eights -- Ringo territory that nobody else can do. He played some amazing stuff on that (Time Takes Time) album." ( Modern Drummer, Aug. 1993)
Rory Storm -- "During the four or five years Ringo was with us, he really played the drums. He drove them. He sweated and swung and sung. Ringo sang about five numbers a night. He even had his own spot. It was called 'Ringo Starrtime.' " (Beatles Companion by Ted Greenwald)
D. J. Fontana -- "I was playing maracas or something behind him, just listening to him. I swear he never varied the tempo. He played that back beat and never got off it. Man, you couldn't have moved him with a crane. It was amazing. He played a hell of a back beat, Man, and that's where it's at." (interview for The Big Beat by Max Weinberg)
Don Was -- "As a drummer, he influenced three generations of rock drummers. It's not very flashy playing, but it's very musical. Instead of just counting the bars, he's playing the song, and he puts fills in unusual places that are directed by the vocal." (The St. Louis Post Dispatch, 1992)
George Martin -- "Ringo always got and still gets a unique sound out of his drums, as sound as distinctive as his voice. ... Ringo gets a looser deeper sound out of his drums that is unique. ...This detailed attention to the tone of his drums is one of the reasons for Ringo's brilliance. Another is that although Ringo does not keep time with a metronome accuracy, he has unrivaled feel for a song. If his timing fluctuates, it invariably does so in the right place at the right time, keep the right atmosphere going on the track and give it a rock solid foundation. This held true for every single Beatles number Richie played ... Ringo also was a great tom tom player." ( Summer of Love, 1994)
Mike Finkelstein -- "If you have ever been in a band where you had to recreate Beatle songs, you would have realized that Ringo Starr was no slouch. Those drum parts were very tricky and subtle. He did have a special ability to create interesting rhythmic structures within the music. This gave the Beatles a unique sound without loosing that distinctive drive in rock and roll. ... Ringo moved smoothly from verse to chorus without loosing the groove by subtly changing a texture in the rhythm. Ringo is an important drummer to study well." (Teach Yourself Rock Drumming, 1979)
Bob Cianci -- "He must have done something right. People today still look for people who play like Ringo. If you don't believe me, just check the musical ads. On top of all this, he certainly inspired countless millions of teenagers worldwide to learn drums. There's no doubt it, Ringo's a very important rock drummer. ... What Ringo does on the most basic of terms is make the music feel good. He refers to his playing as being fraught with silly fills due to his self-admitted lack of technique, but he says it proudly. ... Sometimes chops do not a real drummer make." (Great Rock Drummers of the 60s, 1989)
Peter Blake -- "Ringo is one of the most important drummers of the 20th century. While he hasn't got any technique to speak of, he realizes how important It is for a song to feel good. His feel is absolutely tremendous. He got some great sounds on the Beatles records. It wasn't all production and microphones, a lot of it was down to the way he tuned them. ... He has tremendous basic ability. Obviously there were people playing in a straight-forward manner before him, but he had a definite feel and he changed pop drumming around. He changed the sound from hat of the high-pitched jazz drummers. I think he's tremendous." (Speaking Words of Wisdom)
Mark Lewisohn -- "It is true that on only a handful of occasions during all of the several hundred session tapes and thousands of recording hours can Ringo be heard to have made a mistake or wavered in his beat. His work was remarkably consistent and excellent, from 1962 right through 1970." ( The Beatles Recording Sessions, 1988)
George Martin -- "Ringo has a tremendous feel for a song and he always helped us hit the right tempo the first time. He was rock solid. This made the recording of all the Beatle songs so much easier." (interviewed in 1988 for The Beatles Recording Sessions by Mark Lewisohn)
Tim Riley -- "Ringo wanted to serve the songs rather than show off. As a song writer's drummer, Ringo was the type of musician who could follow instructions as he completed the overall sound. His commitment to the music was bigger than his ego." ( Tell Me Why, 1988)
Kenny Aronoff -- "He consistently came up with new ideas that always seemed perfect for the song, but it wasn't just a matter of him picking a basic beat for a song, because lots of drummers could do that. Ringo definitely had the right kind of personality and creative ideas for The Beatles music. You will rarely find a Beatles song without something noticeable that Ringo played or didn't play." (Modern Drummer magazine, Oct. 1987)
Al Kooper -- "Sgt. Pepper was the album that changed drumming more than anything else. Before that album, drum fills in rock and roll were pretty rudimentary, all much the same, and this record had what I call space fills where they would leave a tremendous amount of air. It was most appealing to me musically and the sound of the drums got much better. What I had to figure out now was what am I going to do to get drums to sound like that." (Summer of Love by George Martin, 1994)
Martin Torgoff -- "If I could think of a single passage in which Ringo's quintessential style as a drummer is most identifiable, it could well be something as, say, the drumming behind George's guitar solo in Paul's "Let It Be" after the organ trails off. There, in simple 4-4 time, Ringo comes in with a trademark thump of his base drum, clear tattering snare, and his insistent smashing of the high hat, unvarying, unyielding, yet distinctively Ringo, and you can't help but smile not for its banality but because it is so perfectly adequate and because one can readily envision Ringo behind his kit as he plays, his beringed fingers clutching his sticks, swaying beatifically from side to side as he gets on with his work, blinking those astonishingly saturnine blue eyes." (The Compleat Beatles, 1985)
Dino Danelli, drummer for The Rascals -- "I liked him. He had great style. I never saw anyone play the way he did. I liked his simplicity. (1984 interview for The Big Beat by Max Weinberg)
George Martin -- "I did quickly realize that Ringo was an excellent drummer for what was required. He's not a technical drummer. Men like Buddy Rich and Gene Krupa would run rings around him, but he is a good solid rock drummer with a steady beat, and he knows how to get the right sound out of his drums. Above all, he does have an individual sound. You can tell Ringo's drums from anyone else's and that character was a definite asset to the Beatles' early recordings." (All You Need Is Ears, 1979)
Mike McCartney -- "There were quite a few drummers around Liverpool and I used to go home and tell Paul about Ringo. I often saw him play with Rory Storm. ...With Rory he was a very inventive drummer. He goes around the drums like crazy. He doesn't just hit them -- he invents sounds." (1983 interview for The Beatles: A Celebration by Geoffrey Guilliano, 1992)
Max Weinberg -- "More than any other drummer, Ringo Starr changed my life. The impact and memory of that band on Ed Sullivan Show in 1964 will never leave me. I can still see Ringo in the back moving that beat with his whole body, his right hand swinging off his sock cymbal while his left hand pounds the snare. He was fantastic, but I think what got to me the most was his smile. I knew he was having the time of his life." (The Big Beat, 1984)
Lenny Kaye -- "He was always meant to be utilitarian, a drummer to provide feisty beat. He did this directly with wit imagination and the famous Ringo personality. And his Spartan Ludwig kit showed his ability to cut economically to the heart of the rhythm." (interview for The Compleat Beatles, 1985)
Martin Torgoff -- "As a drummer, he was a natural, purely intuitive, remarkably tasteful, spirited, but always basic, a proponent of less is more school of minimal drumming. ...He had an uncanny understanding of John's rhythm and Paul's base line. Time and again, the Beatles rode his backbeat to glory. Precisely because he never overstated a beat, or over accented a phrase (unless it was appropriate) he managed to get more mileage out of his licks than most drummers could ever dream of. The results were extraordinary." (The Compleat Beatles, 1985)
Don Was -- "Ringo's drums are one of the greatest things you can have on a record."
Buddy Rich -- "Ringo Starr was adequate. No more than that." (Speaking Words of Wisdom by Spencer Leigh [Leigh's note: "Buddy Rich's opinions were as forceful as his drumming. So don't be dismayed, Ringo, he paying you a compliment."])
Dave Ballinger -- "Technically brilliant drummers do not necessary make good rock drummers. ...You don't have to be a technical Buddy Rich type drummer, you just need to be inventive. He (Ringo) did things I would never have thought of doing." (interview for Speaking Words of Wisdom)
Chris Whitten -- " I think I understand why he (Paul) loves Ringo, now after working with him. Paul loves 50s Rock 'n' Roll and Ringo is a great 50s Rock 'n' Roll drummer." (Rhythm magazine, 1990)
Hal Howland -- "It is fascinating to trace the drummer's stylistic development from rock-steady club veteran to studio innovator ... Ringo's command of an exhaustive list of arrangements and new originals is matched only by his versitility. (review for Modern Drummer magazine, June 1995)
Well done, Jon
I love it when Ringo goes double time on the hi hat on the old tunes. Usually the motion of your right hand is up and down for the hi hat, and you double the frequency of hits for double time, which can be fatiguing. Ringo just changes the direction of the stroke 90 degrees from up and down to side to side. He's spending the same amount of energy as straight time, but now it's doubled. Genius.
Perfect Jon. Nothing more needs to be said.
I'm usually very good about including the URL to credit the original source but I forgot to this time. I found them here: http://web2.airmail.net/gshultz/drumpage.html
To state the obvious...People that slag on Ringo's drumming are clueless.
sounds like very little hate for ringo around here.
Id have to agree. I think he wins just on personality alone. He seems so likable. I dont know if his drumming was brilliant but it sure never hurt any song they did.
Looking at the experts revues some seem backhanded.
Sort of a "bless his heart" like you say about the village idiot.
Probably not exactly what the title says, but cool drumming anyway.
Ringo was playing the Reeperbahn at the same time as the Beatles withnRory Storm. He would sub for Best when he didn't show up.
Have a close listen to "All My Loving." Lennon's playing straight triplets, McCartney's walking straight quarter notes, and Ringo is doing that in-between shuffle thing. It shouldn't work. But it locks in and drives it forward with this relentless, tumble-down-the-hill energy. Then it stops, you take a breath, and it picks right back up again.
That's the difference between a band and 'four guys playing at the same time.'
I'd never heard this.
It's all ******** though. Purdie is off his rocker.
If I recall correctly, he was asked once to redo drums on Tony Sheridan tracks that the Beatles happen to play on.
Does anybody take that clown seriously?
He might as well have claimed he saw Brian Epstein on the Grassy Knoll in Dallas.
If you "recall" page 4, you mean?
I'm listening to Ringo Starr now - his solo Ringo album - diggin' it!
My bad! I didn't read through the thread!
Even if he did, the story he tells defies logic. Why would Brian Epstein be supervising a session in Capitol's New York studio for a recording that was owned by Polydor and was being released by Atlantic? The Beatles, Capitol/EMI, and Brian Epstein more than likely would have been trying to prevent that record from being reissued but were powerless to do so.