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My guest today is musician/singer/songwriter/producer Luther Russell – you may recall him (SATB 192) as one half of Those Pretty Wrongs, a duo with Jody Stephens (ex-Big Star). As a devout fan from birth and a drummer himself, Luther possesses considerable insight into what made Ringo the essential Beatle: how a combination of unique skills, background and chemistry with the others made him the band’s most valuable player in a very real sense. This sprawling conversation addresses Ringo’s singular gifts that not only served his band so well over the course of their live and studio career but also how he built the vocabulary that countless others followed in his wake.
Luther’s thesis here
Heard in this show: Luther on drums with Liam Hayes on “Eat In Sin”
I was listening to the out-take of Polythene Pam this morning. Ringo’s drumming is fantastic! It kinda got de-emphasized after all the overdubs on the LP. Savage!
I was listening to the out-take of Polythene Pam this morning. Ringo’s drumming is fantastic! It kinda got de-emphasized after all the overdubs on the LP. Savage!
Thank you for yet another great episode.
Not sure you’ve heard this. https://www.drumhistorypodcast.com/ Great interview with Gary Astridge (Ringo expert)
Haven’t heard it but Gary’s a great pal (and past/future SATB guest)!
Thank you for yet another great episode.
Not sure you’ve heard this. https://www.drumhistorypodcast.com/ Great interview with Gary Astridge (Ringo expert)
Haven’t heard it but Gary’s a great pal (and past/future SATB guest)!
Brilliant Forensics! Loved every minute of it..
Brilliant Forensics! Loved every minute of it..
Very enlightening show. It did leave me contemplating for the very first time if it was actually Ringo who in a way had the most disappointing post-Beatles career. John, Paul, and George may not have been able to reach the consistent heights they had as Beatles, but each gave us a few classic albums and dozens of worthwhile songs. Ringo chose to go the same solo artist route even though, as you and Luther make quite clear, his true greatness is as a studio drummer. I suppose it would not be realistic to have expected someone as famous and popular as Ringo to skip the solo artist path for the life of a superstar studio drummer a la Hal Blaine or Jim Keltner. And I don’t want to discount the enjoyable string of singles and two hit albums between 1971-1975. But Ringo stuck to that path even after the public pretty much stopped paying attention. And while he has done some session work, outside of the early solo work with John and George of course he doesn’t seem to have drummed on any classic albums or singles at all.
You conclude by saying Ringo peaked as a drummer with Abbey Road and Plastic Ono Band. It just seems a shame that he didn’t springboard from that to work with other great artists to elevate their material the way he did with the other Beatles. Why do you think Ringo did not do this? Did he start to doubt his abilities away from the Beatles? Was being a solo performer just too lucrative and satisfying on an ego level to pass up? Did he figure he would always overshadow anybody else he worked with?
I wonder if Ringo simply undervalued his own gifts. It seems like he spent a lot of time and effort into extra-musical activities a year or two after the break-up: mostly film work (acting AND directing), plus boutique pursuits like high-end furniture design and his own (short-lived) record label. The effect of his alcoholism also cannot be understated, effecting judgment and interest. Last, there’s opportunity: though he drummed on the work of friends like Nilsson, Stills and Frampton for a time, I wonder if the increasing perception that he was more of a “character” than a serious musician played a role, causing some artists that may have benefitted from working from with him from even considering approaching. Sadly, I don’t think we would be able to get a straight answer from him if asked today.
(PS: You are name-checked in the the latest.)
Very enlightening show. It did leave me contemplating for the very first time if it was actually Ringo who in a way had the most disappointing post-Beatles career. John, Paul, and George may not have been able to reach the consistent heights they had as Beatles, but each gave us a few classic albums and dozens of worthwhile songs. Ringo chose to go the same solo artist route even though, as you and Luther make quite clear, his true greatness is as a studio drummer. I suppose it would not be realistic to have expected someone as famous and popular as Ringo to skip the solo artist path for the life of a superstar studio drummer a la Hal Blaine or Jim Keltner. And I don’t want to discount the enjoyable string of singles and two hit albums between 1971-1975. But Ringo stuck to that path even after the public pretty much stopped paying attention. And while he has done some session work, outside of the early solo work with John and George of course he doesn’t seem to have drummed on any classic albums or singles at all.
You conclude by saying Ringo peaked as a drummer with Abbey Road and Plastic Ono Band. It just seems a shame that he didn’t springboard from that to work with other great artists to elevate their material the way he did with the other Beatles. Why do you think Ringo did not do this? Did he start to doubt his abilities away from the Beatles? Was being a solo performer just too lucrative and satisfying on an ego level to pass up? Did he figure he would always overshadow anybody else he worked with?
I wonder if Ringo simply undervalued his own gifts. It seems like he spent a lot of time and effort into extra-musical activities a year or two after the break-up: mostly film work (acting AND directing), plus boutique pursuits like high-end furniture design and his own (short-lived) record label. The effect of his alcoholism also cannot be understated, effecting judgment and interest. Last, there’s opportunity: though he drummed on the work of friends like Nilsson, Stills and Frampton for a time, I wonder if the increasing perception that he was more of a “character” than a serious musician played a role, causing some artists that may have benefitted from working from with him from even considering approaching. Sadly, I don’t think we would be able to get a straight answer from him if asked today.
(PS: You are name-checked in the the latest.)
Thanks Robert. (I’m appending some words to my name to avoid any confusion with a certain recent guest with whom I share a name lol).
It does seem a little odd that a huge Beatles fan like Elton John would give Snookaroo to Ringo but never ask him to play on a record. And Clapton didn’t have his phone number? Your speculations do seem to make sense of it all.
P.S. I appreciate the stepped up SATB production of late plus the increased social media presence during these difficult times. It’s much needed.
Thanks Robert. (I’m appending some words to my name to avoid any confusion with a certain recent guest with whom I share a name lol).
It does seem a little odd that a huge Beatles fan like Elton John would give Snookaroo to Ringo but never ask him to play on a record. And Clapton didn’t have his phone number? Your speculations do seem to make sense of it all.
P.S. I appreciate the stepped up SATB production of late plus the increased social media presence during these difficult times. It’s much needed.
Listen to “Ooh My Soul” from the BBC in 1963….great FRANTIC drumming from Ringo!!! Watch The Beatles do “Long Tall Sally” from Feb.11, 1964 in D.C. Great drumming!!!
Listen to “Ooh My Soul” from the BBC in 1963….great FRANTIC drumming from Ringo!!! Watch The Beatles do “Long Tall Sally” from Feb.11, 1964 in D.C. Great drumming!!!
Wonderful two-part “forensic” analysis of Ringo’s contribution to the Beatles. At one point Robert and Luther comment on Ringo’s musical and personal self-assurance. It put me in mind of a passage from Michael Braun’s book from 1964, Love Me Do: The Beatles’ Progress: ‘”We talked about Liverpool. Paul said, ‘There is a certain awareness about some people in Liverpool. Like Ringo, he’s never been to school except two days …’ ‘Anyway,’ said John, looking at Ringo, ‘to be so aware with so little education is rather unnerving to someone who’s been to school since he was fucking two onwards’” (pp. 42-43).
Incidentally, there’s a fine drum track on “Baby You’re A Rich Man,” though I never noticed it until the 2009 remaster. I later bought the mono remaster on vinyl, where the drums are re-absorbed into the mix.
Wonderful two-part “forensic” analysis of Ringo’s contribution to the Beatles. At one point Robert and Luther comment on Ringo’s musical and personal self-assurance. It put me in mind of a passage from Michael Braun’s book from 1964, Love Me Do: The Beatles’ Progress: ‘”We talked about Liverpool. Paul said, ‘There is a certain awareness about some people in Liverpool. Like Ringo, he’s never been to school except two days …’ ‘Anyway,’ said John, looking at Ringo, ‘to be so aware with so little education is rather unnerving to someone who’s been to school since he was fucking two onwards’” (pp. 42-43).
Incidentally, there’s a fine drum track on “Baby You’re A Rich Man,” though I never noticed it until the 2009 remaster. I later bought the mono remaster on vinyl, where the drums are re-absorbed into the mix.