Ringo The 4th

Product Information

PopDose contributor David Allen Jones commented in 2017 that the album's considerable failure did not "seem to bother our boy very much—this was at the height of his LA party animal phase, and he was always seen out and about and drinking copiously and generally loving life." Jones highlighted "Can She Do It Like She Dances?," calling it one of the album's better moments: "the arrangement reminds me a lot of can-can dancing or something, appropriate given the subject matter, in which Ringo drunkenly (and I do mean drunkenly) seems to slobber all over the mike as he wonders if the object of his affection can 'do it' like she dances." Jones adds that Starr sounds "guttural and horny as hell." [19] To further enhance your Sir Richard Starkey listening experience,this super limited edition audiophile album will also be housed in a first time gatefold cover which also includes rare photos and lyrics not seen in years. After the commercial disappointment of Ringo's Rotogravure (1976), Starr abandoned his usual formula of using his well-known musician friends (notably his fellow ex-Beatles) to write songs and provide instrumentation on his albums. Instead, he intensified his partnership with songwriter and close friend Vini Poncia; for his next album, Starr and Poncia decided to write most of the songs themselves while using the input of different musicians. Starr also wanted to keep his sound up-to-date and attempted to partially reinvent himself as a disco singer to capitalize on the genre's growing popularity. Sessions began on 5 February 1977, at Cherokee Studios in Los Angeles, with production overseen by Arif Mardin. [1]

Kent, David (1993). Australian Chart Book 1970–1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. The recording sessions began on 5 February 1977 at Los Angeles’ Cherokee Studios, where parts of Ringo’s Rotogravure had been recorded. They later moved to Atlantic Studios in New York, where the bulk of the album was completed. The album was a failure upon its release, both commercially and critically. Never touching the UK charts, the album managed to make it to No. 162 in the US. [1] The "Drowning in the Sea of Love" single, originally planned as the first US single, [3] was released in the US on 18 October. [nb 4] [1] [2] Shortly thereafter, Atlantic dropped Starr from their roster. In the UK, Polydor fulfilled its three-album contractual requirement by following up with a children's album, Scouse the Mouse (1977) [1] which featured Starr, in the lead role, performing around half of the material. [7] a b c d Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p.123. ISBN 978-0-7535-0843-5.Rotogravure, or gravure, is a printing process in which an image is cut into a surface and the recessed areas hold the ink, which is then transferred from the engraved plates or cylinders onto paper or card. Another Beatle-related Record Store Day release for April 23 is a 12″-single from Dark Horse Records, featuring Shankar Family & Friends: “I am missing you” b/w “Lust”. This was the first ever single released on George Harrison’s Dark Horse Records in 1974. This new pressing is on blue vinyl. George Harrison produced the songs and is depicted on the cover. Ringo’s Rotogravure was released on 17 September 1976 in the UK, and ten days later in the USA. Initial copies came with a free magnifying glass.

embedyt] https://www.youtube.com/embed?listType=playlist&list=PLeEHsF_woO3Sk4XA10vwQNLZG91a_tGLj[/embedyt]

Track listing

Unlike his earlier albums, Starr opted not to enlist an array of famous musician friends to guest on Ringo The 4th. Instead his collaborators included Vini Poncia, with whom Starr wrote the majority of the album’s songs. The second single, Starr’s cover of Bruce Channel’s ‘Hey! Baby’, had ‘Lady Gaye’ on the b-side. It was released on 22 November in the US, where it reached number 74 on the chart, and on 26 November in the UK. Ringo remembered the excitement of getting his first drum, which he said “came on the scene about this time. I bought a drumfor thirty shillings. It was a huge, one-sided bass drum. There usedto be lots of parties then. An uncle would play banjo or harmonica,my grandparents played mandolin and banjo. There was alwayssomeone playing something. So I would bang my big drum withtwo pieces of firewood and drive them mad, but because I was akid they would let me do it.” (Anthology)

Tango All Night. Written by Steve Hague and Tom Seufert, whoever they are, it’s pleasant and lighthearted but awfully bland; set at a disco shuffle tempo with a hint of salsa somewhere in the mix. Guess what Richie wants to do in this one. Richy was never one for playing on his own. “I’ll play with any other musician all night, but I can’t do it on my own. I don’t find any joy sitting there by myself.” Neither was he a fan of drummers in general. “I was never really into drummers. I loved seeing Gene Krupa in themovies, but I did not go out and buy his records. The one drum recordI bought was ‘Topsy Part Two’ by Cozy Cole. I always loved countryand western. A lot of it was around from the guys in the navy. I’d goto parties and they’d be putting onHank Williams, Hank Snow and allthose country acts. I still love country music. Skiffle was also comingthrough, and I was a big fan of Johnnie Ray. Frankie Laine was probablymy biggest hero around 1956 – and I also liked Bill Haley.” (Rolling Stone April 9 2015) Mastered impeccably by Joe Reagoso at Friday Music Studios and Capitol Records in Hollywood, CA, this amazing album will also be manufactured for a very limited time on first time 180 Gram Audiophile Translucent Gold Vinyl! The new kit was Richy’s greatest ever Christmas present, and although it was was a lot of money to the family, it was an investment in a career that would make him one of the most famous faces on the planet and one of the most respected drummers in the history of popular music. As he remembered: “I got the drum kit on Boxing Day and was in a group by February, so there wasn’t a chance in hell that I could play by then. But neither could anyone else, except the guitarist, who knew a couple of chords.” (Anthology) A variety of guest musicians appeared on the album, including Harry Nilsson, Eric Clapton, Peter Frampton, Klaus Voormann, and Dr John.Ringo the 4th is the sixth studio album by English musician Ringo Starr, released on 20 September 1977. Its title is sometimes ascribed to him being the fourth member of the Beatles. Others have suggested that it is his fourth mainstream album, which excludes his Great American Songbook homage, Sentimental Journey, and his country-western foray, Beaucoups of Blues. However, Ringo the 4th is a dance-oriented record, crafted for him by his Atlantic Records producer, Arif Mardin. Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. pp.184, 185. ISBN 978-0-7535-0843-5. Now that they had a group, Richy made the transition from tins to a small drum kit. “Richy started off with a basic kit,” Roy recalled, “just a stand-up drum (floor tom), a snare and a cymbal. As he got better and better, his kit grew. Like all of us, we learned as we went along, and he became a great drummer with Rory Storm and the Hurricanes and then, of course, The Beatles. When we started to play, although Richy had a good sense of rhythm, I showed him how to make a noise like a train with his brushes on the snare because we were doing a lot of railroad songs. Of course, at the start, you couldn’t tell what a great drummer he would becomebecause we were just having fun.” (DB interview 2015) Gave It All Up.This one is actually a keeper- a slow-tempo reminisce about love won and lost, punctuated by Don Brooks’ folksy harmonica. Ringo’s woozy vocal is warm and likable, and I’d rank this with his best solo songs, if I was making a very long list. Ringo The 4th saw Starr adopting R&B and disco styles, although his attempts to move with the times did not translate into record sales.