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Ringo's 10 greatest beats

By Chris Burke
published 7 February 2014

Starr's best, as chosen by Rhythm's experts

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All I've Got To Do
1963
(Image credit: Bettmann/CORBIS)

All I've Got To Do

THE BEATLES IN THE USA: Following Lennon's beautiful vocals and McCartney's bass chords, Ringo's insistent rhythms and effective use of his bass drum punctuate and support the song fantastically.

Page 1 of 10
Page 1 of 10
Long Tall Sally
1964
(Image credit: Bettmann/CORBIS)

Long Tall Sally

Like all the band's early, energetic cover versions, Ringo and the other Fab Three give the Little Richard classic pace and raw rock energy.

Page 2 of 10
Page 2 of 10
Ticket To Ride
1965
(Image credit: Hulton-Deutsch Collection/CORBIS)

Ticket To Ride

From Help!, this track is memorable for Ringo's perfectly placed tom in the flamed main verse groove and rapid fill to bring the song's chorus to a climax.

Page 3 of 10
Page 3 of 10
Rain
1966
(Image credit: Bettmann/CORBIS)

Rain

In drumming terms, Ringo was going through something of a purple patch, with this track one of three recorded on the Revolver sessions to make this list. His machinegun fills punctuate the track and again become a kind of signature. The track was the B-side to Paperback Writer.

Page 4 of 10
Page 4 of 10
Tomorrow Never Knows
1966
(Image credit: Bettmann/CORBIS)

Tomorrow Never Knows

Ringo's relentlessly funky beat – which was later sampled by The Chemical Brothers – made The Beatles' mystical, Indian-styled 'Tomorrow Never Knows' truly inspiring.

Page 5 of 10
Page 5 of 10
She Said She Said
1966
(Image credit: Bettmann/CORBIS)

She Said She Said

'She Said She Said', from Revolver, is a great example of Ringo's inventiveness and great touch; his flurrying fill becomes the tune's motif.

Page 6 of 10
Page 6 of 10
Day Tripper
1966
(Image credit: Bettmann/CORBIS)

Day Tripper

The AA side with 'We Can Work It Out' is given a solid four-to-the-floor chorus and syncopated verse with some nice little ghosted snare notes and perfectly judged fills.

Page 7 of 10
Page 7 of 10
Get Back
1969
(Image credit: Bettmann/CORBIS)

Get Back

Ringo's galloping snare and shuffling fills, punctuated with effective cymbal crashes drive this late Beatles track, which grew from a studio jam, with real finesse.

Page 8 of 10
Page 8 of 10
Come Together
1969
(Image credit: Bettmann/CORBIS)

Come Together

The opening track of Abbey Road is, by the common consensus, one of Ringo's very finest moments. It features a recurring drum motif that acts as the song's main hook, based around 16th-note triplets around the hi-hat and toms.

Page 9 of 10
Page 9 of 10
The End
1969
(Image credit: Bettmann/CORBIS)

The End

Closing out Abbey Road is the rarest of things – a Ringo solo, recorded across two tracks in 'true stereo' (drums were normally mixed in mono then hard-panned right in the mix). Just argue with this, Ringo nay-sayers.

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Page 10 of 10
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Chris Burke
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