Least talented/luckiest musician.
Discussion
Britney Spears. Actually, she doesn't even qualify as a musician so not sure she counts at all.
Listen to one of the desk mic feeds of her 'live' to hear why...
http://www.youtube.com/watch?v=3Ak1cpi74RM
Listen to one of the desk mic feeds of her 'live' to hear why...
http://www.youtube.com/watch?v=3Ak1cpi74RM
Edited by Stig on Tuesday 14th April 17:53
rumpelstiltskin said:
Airbag said:
Ringo.
I had to laugh when John Lennon was asked at the height of the Beatles fame if he thought Ringo Starr was the best drummer in the world,John Lennon quickly replied,"I wouldn't even say he was the best drummer in the Beatles!! 
lockhart flawse said:
Bob Geldof - no musical talent whatever
Questionable...The bloke wrote some chart hits including a Number 1.
Musical talent or not I remember well the moment I saw the Rats appear on Top Of The Pops doing 'Lookin' After No.1' on my parents B&W telly..
What a moment, hand crafted chaos.
Maybe you just didn't get it??
esselte said:
Airbag said:
Ringo.
Yep,never has someone been more in the right place at the right time...He's played on some of the seminal records of the 20th Century (Sergeant Pepper, White Album, Rubber Soul etc) with three of the most acclaimed musicians and songwriters and producers of the last fifty years.
Ask the drummer of any Beatles tribute band how it is nigh impossible to emulate Ringo's groove. There are no flash Moon-like pyrotechnics but you'll be hard put to find a better time-keeper with just the right balance of power and rhythm. There is flash drumming and there is Ringo.
Nobody ever notices the technical prowess Ringo exhibits on tunes like "Help!", "Ticket to Ride", or "Revolution" - I'm referring to the ambidexterity that allowed him to play the same sixteenth-note fills simultaneously with two hands (eg the fill going into the chorus of 'Help').
He held the beat together on stage in audioriums and sports stadia where it was virtually impossible to hear the on-stage band sound, using nothing more than a tiny Ludwig kit with just hi-hat two cymbals, hi hat, floor tom and snare. This was the era before backlines, front of house mixing desks, and state-of-art on-stage monitoring.
When drumming gods like Clem Burke, Jim Keltner, and Max Weinberg cite Ringo has a major influence I'd suggest his inclusion this thread is misplaced.
Edited by audidoody on Saturday 23 May 17:16
audidoody said:
esselte said:
Airbag said:
Ringo.
Yep,never has someone been more in the right place at the right time...He's played on some of the seminal records of the 20th Century (Sergeant Pepper, White Album, Rubber Soul etc) with three of the most acclaimed musicians and songwriters and producers of the last fifty years.
Ask the drummer of any Beatles tribute band how it is nigh impossible to emulate Ringo's groove. There are no flash Moon-like pyrotechnics but you'll be hard put to find a better time-keeper with just the right balance of power and rhythm. There is flash drumming and there is Ringo.
Nobody ever notices the technical prowess Ringo exhibits on tunes like "Help!", "Ticket to Ride", or "Revolution" - I'm referring to the ambidexterity that allowed him to play the same sixteenth-note fills simultaneously with two hands (eg the fill going into the chorus of 'Help').
He held the beat together on stage in audioriums and sports stadia where it was virtually impossible to hear the on-stage band sound, using nothing more than a tiny Ludwig kit with just hi-hat two cymbals, hi hat, floor tom and snare. This was the era before backlines, front of house mixing desks, and state-of-art on-stage monitoring.
When drumming gods like Clem Burke, Jim Keltner, and Max Weinberg cite Ringo has a major influence I'd suggest his inclusion this thread is misplaced.
Edited by audidoody on Saturday 23 May 17:16
Wow.
I am utterly stunned that someone can use 'technical prowess' and 'Ringo' in the same sentence.
I've worked with (read employed) many of the best drummers in the UK over the past 30 years. I now use the best session players, who work both here and in the USA (as they are considered the best in the world).
Ringo (as a drummer) is only considered a joke.
In fact I'm pretty sure I can play better than him - and I'm complete crap!
I am utterly stunned that someone can use 'technical prowess' and 'Ringo' in the same sentence.
I've worked with (read employed) many of the best drummers in the UK over the past 30 years. I now use the best session players, who work both here and in the USA (as they are considered the best in the world).
Ringo (as a drummer) is only considered a joke.
In fact I'm pretty sure I can play better than him - and I'm complete crap!
Edited by GetCarter on Saturday 23 May 18:10
Good for you. I'm impressed, Now forget everything I wrote and read what the founder of drummerworld.com says:
"I'm a big fan of Ringo, so here are the points:
The idea that Ringo was a lucky Johnny-on-the-spot-with-a-showbiz-stage-name is wrong. In fact, when Beatle producer George Martin expressed his unhappiness after the first session with original drummer Pete Best, the decision was made by Paul, George, and John to hire who they considered to be the best drummer in Liverpool - Ringo Starr. His personality was a bonus.
Ringo was the first true rock drummer to be seen on TV. All the Rock & Roll drummers featured with Elvis, Bill Haley, Little Richard, Fats Domino and Jerry Lee Lewis were mostly R&B drummers that were making the transition from a swing drumming style of the 40's and 50's toward the louder and more "rocking" sound that is associated with "I Want To Hold Your Hand". They were dressed in tuxedos and suits and held the drumsticks in the "traditional" manner of military, orchestra, and jazz drummers. Ringo showed the world that power was needed to put the emphasis on the "rock" in Rock & Roll music, so he gripped both sticks like hammers and proceeded to build a foundation for rock music.
Ringo changed the way drummers hold their sticks by making popular the "matched" grip of holding drumsticks. Nearly all drummers in the Western World prior to Ringo held their sticks in what is termed the "traditional" grip, with the left hand stick held like a chopstick. This grip was originally developed by military drummers to accomodate the angle of the drum when strapped over the shoulder. Ringo's grip changes the odd left hand to match the right hand, so that both sticks are held like a flyswatter. Rock drummers along with marching band and orchestral percussionists now mostly play with a "matched" grip, and drum companies have developed straps and accessories to accomodate them.
Ringo started a trend of placing drummers on high risers so that they would be as visible as the other musicians. When Ringo appeared on the Ed Sullivan Show in 1964, he immediately caught the attention of thousands of "drummers to be" by towering over the other three Beatles. Elvis's drummer was looking at a collection of backs.
These same "wannabe" drummers also noticed that Ringo was playing Ludwig drums and they immediately went out and bought thousands of these drumsets, thus establishing Ludwig as the definitive name in Rock & Roll drums at that time.
Ringo changed the sound of recorded drums. About the time of Rubber Soul (released Dec. 6,1965), the sound of the drumset started to become more distinct. Along with help from the engineers at Abbey Road studios, Ringo popularized a new sound for the drums by tuning them lower, deadening the tonal ring with muffling materials, and making them sound "closer" by putting a microphone on each drum.
Ringo has nearly perfect tempo. This allowed the Beatles to record a song 50 or 60 times, and then be able to edit together different parts of numerous takes of the same song for the best possible version. Today an electronic metronome is used for the same purpose, but the Beatles had to depend on Ringo to keep the tempo consistant throughout the dozens of takes of the songs that you know and love so well. Had he not had this ability, the Beatles recordings would sound completely different today.
Ringo's "feel" for the beat serves as a standard for pop-rock record producers and drummers alike. It is relaxed, but never dragging. Solid, yet always breathing. And yes, there is a great amount of musical taste in his decisions of what to play and when to play it. In most recording sessions, the drummer's performance acts as a barometer for the rest of the musicians. The stylistic direction, dynamics, and emotions are filtered through the drummer. He is the catcher to whom the pitcher/songwriter is throwing. If the drumming doesn't feel good, the performance of any additional musicians is doomed from the start. The Beatles rarely if ever had this problem with Ringo.
Ringo hated drum solos, which should win points with quite a few people. He only took one solo while with the Beatles. His eight measure solo appears during "The End" on the "B" side of Abbey Road. Some might say that it is not a great display of technical virtuosity, but they would be at least partially mistaken. You can set an electronic metronome to a perfect 126 beats per minute, then play it along with Ringo's solo and the two will stay exactly together.
Ringo's ability to play odd time signatures helped to push popular songwriting into uncharted areas. Two examples are "All you Need is Love" in 7/4 time, and "Here Comes the Sun" with repeating 11/8, 4/4, and 7/8 passages in the chorus.
Ringo's proficiency in many differen styles such as two beat swing ("When I'm Sixty-Four"), ballads ("Something"), R&B ("Leave My Kitten Alone" and "Taxman") and country (the Rubber Soul album) helped the Beatles to explore many musical directions with ease. His pre-Beatle experience as a versatile and hard working nightclub musician served him well.
The rumors that Ringo did not play on many of the Beatle songs because he was not good enough are also false. In fact, he played on every released Beatles recording (not including Anthology 1) that include drums except for the following: "Back In The USSR" and "Dear Prudence", on which Paul played drums due to Ringo temporarily quitting the band, "The Ballad of John and Yoko", again featuring Paul on drums because Ringo was off making a movie, and a 1962 release of "Love Me Do" featuring session drummer Andy White.
When the Beatles broke up and they were all trying to get away from each other, John Lennon chose Ringo to play drums on his first solo record. As John once said, "If I get a thing going Ringo knows where to go, just like that.." A great songwriter could ask no more of a drummer. Except maybe to smile and bob his head"
But then again - what do they all know?
"I'm a big fan of Ringo, so here are the points:
The idea that Ringo was a lucky Johnny-on-the-spot-with-a-showbiz-stage-name is wrong. In fact, when Beatle producer George Martin expressed his unhappiness after the first session with original drummer Pete Best, the decision was made by Paul, George, and John to hire who they considered to be the best drummer in Liverpool - Ringo Starr. His personality was a bonus.
Ringo was the first true rock drummer to be seen on TV. All the Rock & Roll drummers featured with Elvis, Bill Haley, Little Richard, Fats Domino and Jerry Lee Lewis were mostly R&B drummers that were making the transition from a swing drumming style of the 40's and 50's toward the louder and more "rocking" sound that is associated with "I Want To Hold Your Hand". They were dressed in tuxedos and suits and held the drumsticks in the "traditional" manner of military, orchestra, and jazz drummers. Ringo showed the world that power was needed to put the emphasis on the "rock" in Rock & Roll music, so he gripped both sticks like hammers and proceeded to build a foundation for rock music.
Ringo changed the way drummers hold their sticks by making popular the "matched" grip of holding drumsticks. Nearly all drummers in the Western World prior to Ringo held their sticks in what is termed the "traditional" grip, with the left hand stick held like a chopstick. This grip was originally developed by military drummers to accomodate the angle of the drum when strapped over the shoulder. Ringo's grip changes the odd left hand to match the right hand, so that both sticks are held like a flyswatter. Rock drummers along with marching band and orchestral percussionists now mostly play with a "matched" grip, and drum companies have developed straps and accessories to accomodate them.
Ringo started a trend of placing drummers on high risers so that they would be as visible as the other musicians. When Ringo appeared on the Ed Sullivan Show in 1964, he immediately caught the attention of thousands of "drummers to be" by towering over the other three Beatles. Elvis's drummer was looking at a collection of backs.
These same "wannabe" drummers also noticed that Ringo was playing Ludwig drums and they immediately went out and bought thousands of these drumsets, thus establishing Ludwig as the definitive name in Rock & Roll drums at that time.
Ringo changed the sound of recorded drums. About the time of Rubber Soul (released Dec. 6,1965), the sound of the drumset started to become more distinct. Along with help from the engineers at Abbey Road studios, Ringo popularized a new sound for the drums by tuning them lower, deadening the tonal ring with muffling materials, and making them sound "closer" by putting a microphone on each drum.
Ringo has nearly perfect tempo. This allowed the Beatles to record a song 50 or 60 times, and then be able to edit together different parts of numerous takes of the same song for the best possible version. Today an electronic metronome is used for the same purpose, but the Beatles had to depend on Ringo to keep the tempo consistant throughout the dozens of takes of the songs that you know and love so well. Had he not had this ability, the Beatles recordings would sound completely different today.
Ringo's "feel" for the beat serves as a standard for pop-rock record producers and drummers alike. It is relaxed, but never dragging. Solid, yet always breathing. And yes, there is a great amount of musical taste in his decisions of what to play and when to play it. In most recording sessions, the drummer's performance acts as a barometer for the rest of the musicians. The stylistic direction, dynamics, and emotions are filtered through the drummer. He is the catcher to whom the pitcher/songwriter is throwing. If the drumming doesn't feel good, the performance of any additional musicians is doomed from the start. The Beatles rarely if ever had this problem with Ringo.
Ringo hated drum solos, which should win points with quite a few people. He only took one solo while with the Beatles. His eight measure solo appears during "The End" on the "B" side of Abbey Road. Some might say that it is not a great display of technical virtuosity, but they would be at least partially mistaken. You can set an electronic metronome to a perfect 126 beats per minute, then play it along with Ringo's solo and the two will stay exactly together.
Ringo's ability to play odd time signatures helped to push popular songwriting into uncharted areas. Two examples are "All you Need is Love" in 7/4 time, and "Here Comes the Sun" with repeating 11/8, 4/4, and 7/8 passages in the chorus.
Ringo's proficiency in many differen styles such as two beat swing ("When I'm Sixty-Four"), ballads ("Something"), R&B ("Leave My Kitten Alone" and "Taxman") and country (the Rubber Soul album) helped the Beatles to explore many musical directions with ease. His pre-Beatle experience as a versatile and hard working nightclub musician served him well.
The rumors that Ringo did not play on many of the Beatle songs because he was not good enough are also false. In fact, he played on every released Beatles recording (not including Anthology 1) that include drums except for the following: "Back In The USSR" and "Dear Prudence", on which Paul played drums due to Ringo temporarily quitting the band, "The Ballad of John and Yoko", again featuring Paul on drums because Ringo was off making a movie, and a 1962 release of "Love Me Do" featuring session drummer Andy White.
When the Beatles broke up and they were all trying to get away from each other, John Lennon chose Ringo to play drums on his first solo record. As John once said, "If I get a thing going Ringo knows where to go, just like that.." A great songwriter could ask no more of a drummer. Except maybe to smile and bob his head"
But then again - what do they all know?
er... but he can't play in time. Does that not matter?
Edit to add... You are obviously a fan mate, and I'm not here to pi55 you off - I am talking from a skill angle, what he could/can do as a player, and that was technically, fu*k all... but I really DO get the importance and infulence of all four Beatles (I've been shouting about how important they are on another thread in here).
They were a MASSIVE influence on my life in the 60's, and one of the reasons I'm now a composer.
Edit to add... You are obviously a fan mate, and I'm not here to pi55 you off - I am talking from a skill angle, what he could/can do as a player, and that was technically, fu*k all... but I really DO get the importance and infulence of all four Beatles (I've been shouting about how important they are on another thread in here).
They were a MASSIVE influence on my life in the 60's, and one of the reasons I'm now a composer.
Edited by GetCarter on Saturday 23 May 19:42
I'm torn between saying the likes of Allen are ripe for this thread as she clearly knows what she's doing, even if it is merely pseudo-satirical radio friendly pop.
I 'spose you could argue that Lavigne is the luckier side of this then. She's a marketing dream because she looks pretty in an inoffensive "alternative" way and writes her own stuff, even if it really is a sack of horse s
t and she can't sing.
Of course we're discussing Pop here. Talent for the music side of things is hardly the sole factor for success.
I 'spose you could argue that Lavigne is the luckier side of this then. She's a marketing dream because she looks pretty in an inoffensive "alternative" way and writes her own stuff, even if it really is a sack of horse s
t and she can't sing.Of course we're discussing Pop here. Talent for the music side of things is hardly the sole factor for success.
audidoody said:
Good for you. I'm impressed, Now forget everything I wrote and read what the founder of drummerworld.com says:
"I'm a big fan of Ringo, so here are the points:
The idea that Ringo was a lucky Johnny-on-the-spot-with-a-showbiz-stage-name is wrong. In fact, when Beatle producer George Martin expressed his unhappiness after the first session with original drummer Pete Best, the decision was made by Paul, George, and John to hire who they considered to be the best drummer in Liverpool - Ringo Starr. His personality was a bonus.
Ringo was the first true rock drummer to be seen on TV. All the Rock & Roll drummers featured with Elvis, Bill Haley, Little Richard, Fats Domino and Jerry Lee Lewis were mostly R&B drummers that were making the transition from a swing drumming style of the 40's and 50's toward the louder and more "rocking" sound that is associated with "I Want To Hold Your Hand". They were dressed in tuxedos and suits and held the drumsticks in the "traditional" manner of military, orchestra, and jazz drummers. Ringo showed the world that power was needed to put the emphasis on the "rock" in Rock & Roll music, so he gripped both sticks like hammers and proceeded to build a foundation for rock music.
Ringo changed the way drummers hold their sticks by making popular the "matched" grip of holding drumsticks. Nearly all drummers in the Western World prior to Ringo held their sticks in what is termed the "traditional" grip, with the left hand stick held like a chopstick. This grip was originally developed by military drummers to accomodate the angle of the drum when strapped over the shoulder. Ringo's grip changes the odd left hand to match the right hand, so that both sticks are held like a flyswatter. Rock drummers along with marching band and orchestral percussionists now mostly play with a "matched" grip, and drum companies have developed straps and accessories to accomodate them.
Ringo started a trend of placing drummers on high risers so that they would be as visible as the other musicians. When Ringo appeared on the Ed Sullivan Show in 1964, he immediately caught the attention of thousands of "drummers to be" by towering over the other three Beatles. Elvis's drummer was looking at a collection of backs.
These same "wannabe" drummers also noticed that Ringo was playing Ludwig drums and they immediately went out and bought thousands of these drumsets, thus establishing Ludwig as the definitive name in Rock & Roll drums at that time.
Ringo changed the sound of recorded drums. About the time of Rubber Soul (released Dec. 6,1965), the sound of the drumset started to become more distinct. Along with help from the engineers at Abbey Road studios, Ringo popularized a new sound for the drums by tuning them lower, deadening the tonal ring with muffling materials, and making them sound "closer" by putting a microphone on each drum.
Ringo has nearly perfect tempo. This allowed the Beatles to record a song 50 or 60 times, and then be able to edit together different parts of numerous takes of the same song for the best possible version. Today an electronic metronome is used for the same purpose, but the Beatles had to depend on Ringo to keep the tempo consistant throughout the dozens of takes of the songs that you know and love so well. Had he not had this ability, the Beatles recordings would sound completely different today.
Ringo's "feel" for the beat serves as a standard for pop-rock record producers and drummers alike. It is relaxed, but never dragging. Solid, yet always breathing. And yes, there is a great amount of musical taste in his decisions of what to play and when to play it. In most recording sessions, the drummer's performance acts as a barometer for the rest of the musicians. The stylistic direction, dynamics, and emotions are filtered through the drummer. He is the catcher to whom the pitcher/songwriter is throwing. If the drumming doesn't feel good, the performance of any additional musicians is doomed from the start. The Beatles rarely if ever had this problem with Ringo.
Ringo hated drum solos, which should win points with quite a few people. He only took one solo while with the Beatles. His eight measure solo appears during "The End" on the "B" side of Abbey Road. Some might say that it is not a great display of technical virtuosity, but they would be at least partially mistaken. You can set an electronic metronome to a perfect 126 beats per minute, then play it along with Ringo's solo and the two will stay exactly together.
Ringo's ability to play odd time signatures helped to push popular songwriting into uncharted areas. Two examples are "All you Need is Love" in 7/4 time, and "Here Comes the Sun" with repeating 11/8, 4/4, and 7/8 passages in the chorus.
Ringo's proficiency in many differen styles such as two beat swing ("When I'm Sixty-Four"), ballads ("Something"), R&B ("Leave My Kitten Alone" and "Taxman") and country (the Rubber Soul album) helped the Beatles to explore many musical directions with ease. His pre-Beatle experience as a versatile and hard working nightclub musician served him well.
The rumors that Ringo did not play on many of the Beatle songs because he was not good enough are also false. In fact, he played on every released Beatles recording (not including Anthology 1) that include drums except for the following: "Back In The USSR" and "Dear Prudence", on which Paul played drums due to Ringo temporarily quitting the band, "The Ballad of John and Yoko", again featuring Paul on drums because Ringo was off making a movie, and a 1962 release of "Love Me Do" featuring session drummer Andy White.
When the Beatles broke up and they were all trying to get away from each other, John Lennon chose Ringo to play drums on his first solo record. As John once said, "If I get a thing going Ringo knows where to go, just like that.." A great songwriter could ask no more of a drummer. Except maybe to smile and bob his head"
But then again - what do they all know?
Can we not get a musician's perspective on this?"I'm a big fan of Ringo, so here are the points:
The idea that Ringo was a lucky Johnny-on-the-spot-with-a-showbiz-stage-name is wrong. In fact, when Beatle producer George Martin expressed his unhappiness after the first session with original drummer Pete Best, the decision was made by Paul, George, and John to hire who they considered to be the best drummer in Liverpool - Ringo Starr. His personality was a bonus.
Ringo was the first true rock drummer to be seen on TV. All the Rock & Roll drummers featured with Elvis, Bill Haley, Little Richard, Fats Domino and Jerry Lee Lewis were mostly R&B drummers that were making the transition from a swing drumming style of the 40's and 50's toward the louder and more "rocking" sound that is associated with "I Want To Hold Your Hand". They were dressed in tuxedos and suits and held the drumsticks in the "traditional" manner of military, orchestra, and jazz drummers. Ringo showed the world that power was needed to put the emphasis on the "rock" in Rock & Roll music, so he gripped both sticks like hammers and proceeded to build a foundation for rock music.
Ringo changed the way drummers hold their sticks by making popular the "matched" grip of holding drumsticks. Nearly all drummers in the Western World prior to Ringo held their sticks in what is termed the "traditional" grip, with the left hand stick held like a chopstick. This grip was originally developed by military drummers to accomodate the angle of the drum when strapped over the shoulder. Ringo's grip changes the odd left hand to match the right hand, so that both sticks are held like a flyswatter. Rock drummers along with marching band and orchestral percussionists now mostly play with a "matched" grip, and drum companies have developed straps and accessories to accomodate them.
Ringo started a trend of placing drummers on high risers so that they would be as visible as the other musicians. When Ringo appeared on the Ed Sullivan Show in 1964, he immediately caught the attention of thousands of "drummers to be" by towering over the other three Beatles. Elvis's drummer was looking at a collection of backs.
These same "wannabe" drummers also noticed that Ringo was playing Ludwig drums and they immediately went out and bought thousands of these drumsets, thus establishing Ludwig as the definitive name in Rock & Roll drums at that time.
Ringo changed the sound of recorded drums. About the time of Rubber Soul (released Dec. 6,1965), the sound of the drumset started to become more distinct. Along with help from the engineers at Abbey Road studios, Ringo popularized a new sound for the drums by tuning them lower, deadening the tonal ring with muffling materials, and making them sound "closer" by putting a microphone on each drum.
Ringo has nearly perfect tempo. This allowed the Beatles to record a song 50 or 60 times, and then be able to edit together different parts of numerous takes of the same song for the best possible version. Today an electronic metronome is used for the same purpose, but the Beatles had to depend on Ringo to keep the tempo consistant throughout the dozens of takes of the songs that you know and love so well. Had he not had this ability, the Beatles recordings would sound completely different today.
Ringo's "feel" for the beat serves as a standard for pop-rock record producers and drummers alike. It is relaxed, but never dragging. Solid, yet always breathing. And yes, there is a great amount of musical taste in his decisions of what to play and when to play it. In most recording sessions, the drummer's performance acts as a barometer for the rest of the musicians. The stylistic direction, dynamics, and emotions are filtered through the drummer. He is the catcher to whom the pitcher/songwriter is throwing. If the drumming doesn't feel good, the performance of any additional musicians is doomed from the start. The Beatles rarely if ever had this problem with Ringo.
Ringo hated drum solos, which should win points with quite a few people. He only took one solo while with the Beatles. His eight measure solo appears during "The End" on the "B" side of Abbey Road. Some might say that it is not a great display of technical virtuosity, but they would be at least partially mistaken. You can set an electronic metronome to a perfect 126 beats per minute, then play it along with Ringo's solo and the two will stay exactly together.
Ringo's ability to play odd time signatures helped to push popular songwriting into uncharted areas. Two examples are "All you Need is Love" in 7/4 time, and "Here Comes the Sun" with repeating 11/8, 4/4, and 7/8 passages in the chorus.
Ringo's proficiency in many differen styles such as two beat swing ("When I'm Sixty-Four"), ballads ("Something"), R&B ("Leave My Kitten Alone" and "Taxman") and country (the Rubber Soul album) helped the Beatles to explore many musical directions with ease. His pre-Beatle experience as a versatile and hard working nightclub musician served him well.
The rumors that Ringo did not play on many of the Beatle songs because he was not good enough are also false. In fact, he played on every released Beatles recording (not including Anthology 1) that include drums except for the following: "Back In The USSR" and "Dear Prudence", on which Paul played drums due to Ringo temporarily quitting the band, "The Ballad of John and Yoko", again featuring Paul on drums because Ringo was off making a movie, and a 1962 release of "Love Me Do" featuring session drummer Andy White.
When the Beatles broke up and they were all trying to get away from each other, John Lennon chose Ringo to play drums on his first solo record. As John once said, "If I get a thing going Ringo knows where to go, just like that.." A great songwriter could ask no more of a drummer. Except maybe to smile and bob his head"
But then again - what do they all know?
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