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Although his name has long been among the greats, for his talent and influence, the worth of Ringo Starr as a musician he did not become a consensus in his time. The beatle himself came to doubt himself. He was not sure of his place alongside such gifted composers nor did he feel that he played well enough. On August 22, 1968, he felt that everything had been good and he left the group, just during the sessions of what would become the White Album.
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Richard Starkey, born in Liverpool in 1940, had joined the Beatles just when they were about to record their first album, Please Please Me (1963). He was called urgently for John Lennon Y Paul McCartney after the producer George Martin tell them if they wanted to go far in music to get rid of their original drummer, Pete Best, who could not maintain the rhythm and “nail” the snare even in a song as simple as Love Me Do.
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The funny thing is that Ringo, an old acquaintance of the Beatles from their Liverpool bar days, didn’t impress Martin much either and was replaced for him. single by a session musician (Alan White). The group continued betting on him and kept him for his charisma and his contribution to the group sound, which was not little. The sound of the Beatles in the early years of Beatlemania is the sound of Ringo’s open hi-hat, those little cymbals that left-handed Starr hit and produced an effervescent effect on songs like I Want to hold Your Hand O She Loves You.
The truth is that if one does the idle exercise of putting Ringo next to jazz drummers like Buddy Rich or rockers like Keith Moon (The Who) o Ginger Baker (Cream) may not be successful. Ringo knew well that his tempo was capricious and often involuntary, that his status as a left-handed drummer playing right-handed drums made him sound “eccentric”; that drumbeats weren’t his strong suit. He preferred not to sound “perfect” but to give his touch humanity rather than sound like a machine.
Many years later, when Jeff Lynne (ELO) had to produce the new Beatles songs for the project AnthologyIn the 90s, he would clash with Ringo for that very reason. The producer required Starr to play a backing rhythm track (click track) that would help you balance your tempo and not rush or delay. The British did not understand, he despaired. “I don’t need a click track, Jeff. I am the damned click track! ”He once told her.
Ringo proved to be essential in the evolution of the Fab Four on subsequent records where John, Paul and George, along with their sound engineer Geoff Emmerick they began to experiment with the capabilities of the studio. Those were endless hours in which he spent playing poker to kill time while the rest spent setting sound, as in the ambitious Sgt. Peppers Lonely Hearts Club BandCuriously, the record that Starr likes the least. But when at last they called him and it was his turn to sit down, he imposed his rhythmic authority.
Ringo Starr returned to the Beatles in September 68, after taking a few days off that served to calm his existential crisis. Getting away from McCartney, who used to be very picky about the way he wanted him to play his songs – and even secretly replace him on some – was a relief. The group received him excited. They had previously had their drums covered with flowers as a gesture of appreciation. Ringo might not be the best drummer of his generation, but as they told him, he was the best drummer a group like the Beatles could have. //
Five great Ringo Starr moments with the Beatles
1. I Want To Hold Your Hand
The song that unleashed beatlemania in the United States and the rest of the world exemplifies Ringo’s contribution to the sound of those in Liverpool. His cymbals are so wide that it sounds almost like the glitter of a tambourine; his drumming is so urgent that it seems like his entire set is going to collapse. It was a new, boggy sound, exuding youth. How could he not conquer the world.
2. Ticket To Ride
The first proof that the Beatles could soundly innovate in the mainstream It was this song that sounded a bit like “heavy metal” to Lennon, especially because of the way Starr pounded his instrument. Its split rhythmic pattern, its short and fast rolls, were inspiring for musicians who were beginning to turn to the sound experimentation of psychedelia. A similar touch applies to the equally praised Tomorrow Never Knows
3. Strawberry Fields Forever
Already immersed in his experimental stage, Ringo proved to be as daring as his peers with elements as simple as two drumsticks and three drums. The way Ringo “fills in” the spaces in a ghostly song like Strawberry Fields Forever, adding depth and even narrative (for a moment it looks like an army marching), it’s exciting. In the following years he would make extensive use of his drums toms-toms, like textures, on topics like A Day In The Life.
Rain It is possibly the song most admired by drummers and certainly Ringo’s favorite of all the songs he played after his time with the Beatles. He remembers being possessed from those sessions, he said, because of the way he rhythmically solved the Lennon theme. “I liked the snare and the hi-hat. I think it was the first time I used this trick of starting a break by hitting the hi-hat first. […] I think it’s the best thing I’ve ever done, ”he once said.
5. Come Together
Come Together It features a distinctive Ringo drum pattern, so catchy it works almost a pop hook over the song. It’s a catchy beat and it’s pretty straightforward: two kick drum shots, four hi-hat shots, and a tom roll. Then accompany the singer, which is another characteristic of yours. It is the definitive proof that Ringo, before being a genius of precision and tempo, was highly creative with the textures and sounds of his instrument. Towards his drums sing.
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