Well, I'm really stropping. You sure you really want me to? 34" round the
waist, 280 lbs, and I can lift it easily as well. I'll be quite happy to
say it to your face, as I can tell you WHY it's so. And as for it being
obnoxious, well ... you've heard the one about the the pot saying the
kettle was black haven't you? You'd do well to cool down yerself. Rest
assured that my words were chosen with care. And now I know where you are.
>How do you know what his drumming sounded like... follow my reasoning
>here... if Paul went into the studio and secretly re-recorded many of
>the drum tracks, I would contend that you are a fan of PAUL'S drumming,
>not Ringo's. Unless you're basing your opinion on live recordings (and I
>don't think you are) where Paul didn't have the chance to change shit
>around.
A) I've been collecting Beatle bootlegs for nearly 25 years, and actually
prefer to hear them with their pants off. (About 15% of the Anthology
series was new to me). Last count was 350. Quite a few of them are from
Twickenham, where everything they played was live. I have heard for myself
how most of the Beatles' records were built.
B) I spent hours of my teenage and college years researching this sort of
information (who played what where on which session -- much like jazz
fanatics do for their faves) and debunking rumours such as yours.
C) What you're contending wasn't possible with the way the Beatles worked
until maybe the White Album. Sgt Pepper was on a four-track (and you can
hear the loss of SQ with all the ping-ponging done on that album) and the
basic tracks were cut live in the studio -- all four of them. So was
Magical Mystery Tour. And all of the albums before that. In the early
days, they HAD to work that way because there weren't more than three
tracks, and in the case of the first couple of albums, just two. I have
tapes of the basics for several of these to prove it. Since we know Let It
Be was live in the studio with Phil Spector doctoring it later, that leaves
exactly one double album, one single album, about a quarter of a single
album recorded before the White Album, and a smattering of singles. Even
the basics for "I Am The Walrus" were cut live as you hear it on the record
or maybe you've seen the Our World bit where they're actually making "All
You Need Is Love" with Ringo drumming (which incidentally romps in and out
of 7/4 -- something that seems to pose a real challenge for drummers these
days) -- all that's redone for the record is the lead vocal. The only
instance I know of that what you're asserting might be true is the bit in
"Happiness Is A Warm Gun" where the vocal goes "When I hold you in my arms"
-- the drums stay in 4/4 while the rest of the band changes in 3/4 -- but
even that bit has Ringo's slop to it (compare the drum sound in "Why Don't
We Do It In The Road" which IS Paul -- you can also compare it to "Ballad
Of John And Yoko" which is also Paul). And let's not forget the fantastic
groove-based acid-jazz-like drumming from Ringo on Yoko's Plastic Ono Band
LP, which I daresay you may not have heard simply because it's Yoko. So I
say very comfortably, most respectfully, and without fear that you, sir,
are indeed Fulla Shit. Period. Which, if you think about it, is something
MUCH MORE than merely wrong. You think I should come down to get a good
stomping from you for asserting myself -- but you should have the integrity
to admit that you don't have a clue what you're talking about. But then,
of course, you're never wrong are you?
>As far as Ringo influencing lots of people, so did Sid Vicious and that
>doesn't make him any better of a bass player does it?
In a way it does because he convinced me that anyone could be a part of a
band. Here's a kid with literally nothing going for him at all. If I got
any of the DIY attitude from anyone it's probably Sid Vicious. Of course
now I realize how idyllic that was, but I probably wouldn't play music if
it weren't for people like him. He was by no means astonishing, but you
have to have some sort of real umph to play simple stuff and have it come
out sounding great 20 years later.
>Well I don't go around claiming to be a drummer do I? So why should I
>have to play drums to say that he sucked... believe me I'm a bass player
>and I know a shitty drummer when I hear one. Ringo couldn't keep time.
>period.
Well, you know ... if your assertion was true, WE'VE NEVER HEARD RINGO
THEN, HAVE WE? So maybe your assertion is that Paul's a shitty drummer, eh?
Oh, yeh .... most good musicians don't go around saying other musicians
suck, even if the supposed suckers are backing Michael Bolton or playing in
Chuck Berry's pickup band last night. Or even if they really do suck.
Your saying that ANY musician sucks, IMO, makes you more deserving of the
violence you threaten toward me.
Here it is as bluntly as I can make it: if he was such a bad drummer YOU
DO IT BETTER WITHOUT SEQUENTIAL HELP -- i.e. put up or shut up. Get on the
stage and show us. We'll give you time to practise first.
This is the absolute end of the squabble from my end, as this would be
helpful to others if it were an argument (which I've tried to make it)
rather than gamesaying, which it will turn into if I do not stop now. Any
more egging from Lo-Ki will be ignored, and any future comments about any
subject at all from him will be regarded with utmost suspicion. Welcome to
the world of damaged credibility, Lo-Ki. Sure I'm a potty mouth but
there's more going on here than just insults. I look forward to the next
set of toes you step on.
P.S. Back to acid jazz -- does anyone know who J-Rocc is who compiled this
fantastic mixtape I have for the Drawls boutique ("Jazzy Grooves Vol. 6")?
I must get more of those mixtapes.