Numbers 28 to 35 are various songs composed for Ringo by either John, Paul or George.
Number 26 - Cookin’ (In the Kitchen of Love)
Beatles Involved: John and Ringo. Listenability: 3.5 out of 5
'Cooking (In the Kitchen of Love)' was the last studio recording John worked on prior to his five year hiatus to look after Sean. The track was written by John, who also played piano on on 12 June 1976. (Badman 1999, p.180)
The song itself is little more than a repetitive three chord piano boogie. Each verse starts in an near identical fashion, and the chorus uses the same chords as the verses. The end result is a bit of non-ground breaking musical fun.
Ringo:
I asked John and he worked on it and worked on it and came up with ‘Cookin’ (In The Kitchen Of Love)’. You know he’s really into that now – cooking.
Taken from Interview in NME Originals page 112.
Other Bits and Pieces
Initially, after finishing his Rock 'n' Roll album in 1975, it seemed that John planned on making another album in the near future. In an interview with Pete Hamill, published on 5th June 1975, John stated, 'I've just started writing a new one [album]. Got maybe half of it written.' A number of events occurred over the following 13 months, that perhaps all played a part in John taking a break rather than making a new album. These events were:
1) On the 9th October 1975 his son Sean was born. John later stated that the length of his break from the music industry was because he 'wanted to give five solid years to Sean.' (September 29th 1980 issue of Newsweek).
2) On the 26th January 1976, three months after Sean was born, John's contract with EMI expired. Judging by a letter John wrote to EMI director Len Wood in March of 1976, EMI had given some sort of 'offer', which John didn't accept. John also stated, he was 'enjoying my family, And uncommitted freedom'. Lennon didn't sign another record contract until 22nd September 1980.
3) On 27th July 1976, John's application for the green card was approved on 27th July 1976. It seemed during the hearing on this day that John was not planning an extended break, as he stated that he wished to 'continue to live here [the USA] with my family and continue making music.' Leon Wildes, John's attorney, also argued on this day, that John could make a contribution to the US through his 'new innovations in music' and the 'revenue' that John could generate. Perhaps, once John's green card was actually accepted, he then no longer felt as much pressure to be seen to contributing to the US through his music.
Beatles Involved: John and Ringo. Listenability: 3 out of 5
Written by John and recorded with Ringo in August 1974, it became the title track of Ringo's album later that year. John contributes an enthusiastic count-in and piano. Musically the song has verses which end in the refrain 'It's all da-da-down to Goodnight Vienna'. It also has a repeated bridge, but lacks anything that would qualify as a chorus. Ringo's bland singing doesn't help. Amongst other contributors to the recording, Billy Preston plays clavinet. Lyrically, it seems to be about John's insecurities. The Reprise of the song features Lennon's intro, 'OK, with gusto, boys, with gusto!'.
What they said about it:
Ringo:Question: Are any of the ex-Beatles on the LP?
“John is. He wrote a song and played on three. He wrote the title tune. It’s a Northern expression and an old song, which means ‘I’m getting out of here’.”
Taken from Interview in NME Originals page 91.
What they said about it:
Ringo:Question: Are any of the ex-Beatles on the LP?
“John is. He wrote a song and played on three. He wrote the title tune. It’s a Northern expression and an old song, which means ‘I’m getting out of here’.”
Taken from Interview in NME Originals page 91.
Number 28: You and Me (Babe)
Beatles Involved: George and Ringo. Listenability: 3 out of 5
An easy going track that features some very nice slide guitar by George. The song was co-written by Beatles road manager / personal assistant, Mal Evans. Part of the horn arrangement is reminiscent of the riff in Badfinger's song, 'Day After Day'. As the last track on the 1973 'Ringo' album it also features a spoken a thank you to George Harrison, John Lennon and Paul McCartney as well as a host of others involved in making the record.
What they said about it:
Mal:
"We were in LA at the time and George and I were sharing a house and Ringo was doing his album. It was late one nght and I had this song round my head. It was a mediation song of mine I had written when I was in New York previously and I asked George if he would help me out with the chords, because I don’t play very well. He started playing on the piano, it developed and this is what it turned out to be. Ringo was surprised by it, I suppose."
Taken from: The Beatles: Off The Record 2 - The Dream is Over: Off the Record
By Keith Badman
Beatles Involved: George and Ringo. Listenability: 3 out of 5
An easy going track that features some very nice slide guitar by George. The song was co-written by Beatles road manager / personal assistant, Mal Evans. Part of the horn arrangement is reminiscent of the riff in Badfinger's song, 'Day After Day'. As the last track on the 1973 'Ringo' album it also features a spoken a thank you to George Harrison, John Lennon and Paul McCartney as well as a host of others involved in making the record.
What they said about it:
Mal:
"We were in LA at the time and George and I were sharing a house and Ringo was doing his album. It was late one nght and I had this song round my head. It was a mediation song of mine I had written when I was in New York previously and I asked George if he would help me out with the chords, because I don’t play very well. He started playing on the piano, it developed and this is what it turned out to be. Ringo was surprised by it, I suppose."
Taken from: The Beatles: Off The Record 2 - The Dream is Over: Off the Record
By Keith Badman
Number 29: Pure Gold
Beatles Involved: Paul and Ringo. Listenability: 3 out of 5
About a week after John recorded 'Cooking (In the Kitchen of Love) with Ringo, Paul and Linda spent four hours at Cherokee Studios in Hollywood on 19th June 1976 to record this track. Written by Paul and featuring Paul on backing vocals, the song is largely based on the 50's chord progression of C, Am, F, G with a few extra chords thrown in. It's pleasant enough, but its lacks a bridge or anything more than a middle of the road performance. According to the album notes, Ringo shares the drumming duties with Jim Keltner, while the bass guitar is played by Klaus Voorman, a friend of The Beatles from their Hamburg days.
What they said about it:
Ringo:
"Well, Paul asked to write a song..."
Taken from 'The Beatles Diary Volume 2. Keith Badman. p.191
Nancy Lee Andrews (Ringo's girlfriend at the time):
"He [Paul] did write a song for Ringo's Rotogravure, Pure Gold. Paul said it was about me for Ringo, so he recorded it."
Taken from 'A Dose of Rock 'n' Roll - Nancy Lee Andrews Interview'.
What they said about it:
Ringo:
"Well, Paul asked to write a song..."
Taken from 'The Beatles Diary Volume 2. Keith Badman. p.191
Nancy Lee Andrews (Ringo's girlfriend at the time):
"He [Paul] did write a song for Ringo's Rotogravure, Pure Gold. Paul said it was about me for Ringo, so he recorded it."
Taken from 'A Dose of Rock 'n' Roll - Nancy Lee Andrews Interview'.
Number 30: Wrack My Brain
Beatles Involved: George and Ringo. Listenability: 2.5 out of 5
This song was George's song writing contribution to Ringo's 1981 album, 'Stop and Smell the Roses'. It features George on guitar, backing vocals and also as producer. While the song is catchy enough to get stuck in your head, this is not necessarily a good thing as the tune itself is fairly repetitive. Nevertheless, it was released as a single, and made it to number 38 in the US music charts. The lyrics seem to be about George being 'dried up' and having to wrack his brain in an attempt to write a song for the executives at his record company would be happy with. A similar theme is also the subject of a George song, 'Blood From a Clone.'
Other bits and pieces
In this alternative version, George's backing vocals are more prominent.
Number 31: Private Property
Beatles Involved: Paul and Ringo. Listenability: 2.5 out of 5
This is another song from Ringo's 1981 album, 'Stop and Smell the Roses'. Composed and produced by Paul, it features Paul on bass and piano. Linda can be heard on backing vocals and the track also features Wing's lead guitarist Laurence Juber. The prominent saxaphone is played by Howie Casey who had previously tour with Wings. Despite being a lively recording, the song itself is not one of McCartney's best.
What they said about it:
Laurence Juber:
Question - In July 1980 you recorded "Private Property" and "Attention" with Paul and Linda McCartney for Ringo Starr's Stop and Smell the Roses. What was it like watching Paul and Ringo interact together?
"Simply amazing. The fact that I'm sitting there in the studio watching Paul and Ringo work and I say to myself, "Wow, there's half of the Beatles. How cool is this?" They had a sixth sense about each other and where to go musically. It was magical to watch the two interact. We also did "Sure to Fall" and Linda's tune "Love's Full Glory" that ended up on Wide Praire."
Beatles Involved: George and Ringo. Listenability: 2.5 out of 5
This song was George's song writing contribution to Ringo's 1981 album, 'Stop and Smell the Roses'. It features George on guitar, backing vocals and also as producer. While the song is catchy enough to get stuck in your head, this is not necessarily a good thing as the tune itself is fairly repetitive. Nevertheless, it was released as a single, and made it to number 38 in the US music charts. The lyrics seem to be about George being 'dried up' and having to wrack his brain in an attempt to write a song for the executives at his record company would be happy with. A similar theme is also the subject of a George song, 'Blood From a Clone.'
Other bits and pieces
In this alternative version, George's backing vocals are more prominent.
Number 31: Private Property
Beatles Involved: Paul and Ringo. Listenability: 2.5 out of 5
This is another song from Ringo's 1981 album, 'Stop and Smell the Roses'. Composed and produced by Paul, it features Paul on bass and piano. Linda can be heard on backing vocals and the track also features Wing's lead guitarist Laurence Juber. The prominent saxaphone is played by Howie Casey who had previously tour with Wings. Despite being a lively recording, the song itself is not one of McCartney's best.
What they said about it:
Laurence Juber:
Question - In July 1980 you recorded "Private Property" and "Attention" with Paul and Linda McCartney for Ringo Starr's Stop and Smell the Roses. What was it like watching Paul and Ringo interact together?
"Simply amazing. The fact that I'm sitting there in the studio watching Paul and Ringo work and I say to myself, "Wow, there's half of the Beatles. How cool is this?" They had a sixth sense about each other and where to go musically. It was magical to watch the two interact. We also did "Sure to Fall" and Linda's tune "Love's Full Glory" that ended up on Wide Praire."
Number 32: Sunshine Life For Me (Sail Away Raymond)
Beatles Involved: George and Ringo. Listenability: 2.5 out of 5
Beatles Involved: George and Ringo. Listenability: 2.5 out of 5
This track features George on guitar and his clearly distinguishable backing vocals during the chorus. Written by George, Ringo sings lead, and nearly all the members of The Band (Levon Helm, Robbie Robertson, Rick Danko and Garth Hudson) also play on the track. Despite the pedigree of musicians, the tune is so bland that the song is instantly forgettable. It is one of the weaker tracks on Ringo's self-titled 1973 album.
What they said about it:
George Harrison:
"Sail Away Raymond was written on an open-tuned guitar when I was with Donovan who was living in Ireland at the time. I wrote it like an old Irish folk song a bit like country music, and the Raymond who was in my mind at the time was a lawyer who Allen Klein had employed to act on behalf of Ringo, John, me and Apple when Paul was suing us – Sail Away Raymond, Sail Away.
What they said about it:
George Harrison:
"Sail Away Raymond was written on an open-tuned guitar when I was with Donovan who was living in Ireland at the time. I wrote it like an old Irish folk song a bit like country music, and the Raymond who was in my mind at the time was a lawyer who Allen Klein had employed to act on behalf of Ringo, John, me and Apple when Paul was suing us – Sail Away Raymond, Sail Away.
"It was a fun session and a good track with most of The Band, David Bromberg, Klaus, Ringo and me. It appeared on Ringo’s Ringo album."
Taken from 'I, Me, Mine' p. 232
Number 33 - Attention
Beatles Involved: Paul and Ringo. Listenability: 2.5 out of 5
Featuring Paul on bass, piano, percussion and backing vocal it is the second song on Ringo's Stop and Smell the Roses album to be written by Paul. The verses are quite bland, however the bridge that starts just after the one minute mark sounds more melodic and adds a bit more interest to the song. The backing vocals which also features contributions from Linda are quite nice as is Howie Casey's saxophone playing. Like 'Private Property', the track also features Laurence Juber on guitar.
Other bits and pieces
This song also featured in an MPL produced 1982 short film, The Cooler, which featured Ringo, Barbara, Paul and Linda. The film features the two Paul penned songs, from Stop and Smell the Roses, as well as the Paul produced cover, 'Sure to Fall'.
