Tag Archives: The Magic Christian

TMBP Extra: Oh what joy

With birthday posts previously produced for Paul McCartney, John Lennon and George Harrison, it’s about time we righted a wrong, and completed the set with the man born as Richard Starkey. Like the others and in the spirit of this blog, here’s a look at Ringo Starr’s life as it straddled the big days circled on the calendar in 1968 and 1969.

Ringo Starr, 1969

How did you spend your 29th birthday? Ringo Starr, the eldest Beatle, spent July 7, 1969, at EMI Studios on Abbey Road — like he spent so many of days in his 20s — laying down the drum track for “Here Comes The Sun.” We’ve all been stuck working on our birthdays, but this doesn’t sound like a bad gig, if you can get it.

Yet, 11 months earlier, Ringo gave up that gig, walking out on the Beatles during the White Album sessions.

From the Anthology book:

I left because I felt two things: I felt I wasn’t playing great, and I also felt that the other three were really happy and I was an outsider. I went to see John … I said, ‘I’m leaving the group because I”m not playing well and I feel unloved and out of it, and you three are really close.’ And John said, ‘I thought it was you three!’

So I went over to Paul’s and knocked on the door. I said the same thing: ‘I’m leaving the band. I feel you three guys are really close and I’m out of it.’ And Paul said, ‘I thought it was you three!’

I didn’t even bother going to George then. I said, ‘I’m going on holiday.’ I took the kids and we went to Sardinia.

He famously returned two weeks later after to a flower-covered drum kit as the sessions continued (they never stopped recording, with Paul filling in on drums for a few songs).

Still, Ringo’s time away was fruitful, spent on Peter Sellers’ yacht, where the captain told him stories about octopuses on the seabed.

A couple of tokes later with the guitar — and we had ‘Octopus’s Garden’!

Ringo’s relationship with Sellers — a member of The Goon Show, beloved by the teenage future Beatles, and whose novelty records had been produced by George Martin — dated back a few years and would benefit the drummer in several ways in the decade’s final years. In November 1968, Ringo took advantage of a Sellers’ market, moving into the actor’s former Brookfield House estate in Elstead, Surrey. Just a couple months later, the two would co-star in a movie. But first, Ringo had another movie to film with the Beatles.

Ringo’s resistance to go abroad during the Get Back sessions — he was most insistent of any of the Beatles — led to the beauty of the rooftop performance. This blog’s entire purpose is to tell that story.

Musically, Ringo did Ringo things in the January 1969 sessions, and as a songwriter, he continued work on “Octopus’s Garden” (as seen in the Let It Be film) and also brought a few unfinished songs to the table, too.

But the sessions were just a warm-up for what came next at Twickenham Studios, where Ringo — teamed up with Sellers — filmed The Magic Christian, his first true starring role (Ringo had a small part playing a Mexican gardener in Candy, which was released in this period, too). This took time, with filming running from February into May. The film would be released in December 1969.

Let It Be — the film and the record — wouldn’t see a release until 1970, a few months before Ringo turned 30. But the Beatles weren’t finished yet in the wake of those sessions. “Octopus’s Garden” would be formally recorded in April 1969, although recording for Abbey Road, to this point sporadic, wouldn’t get into full swing until July.

In December 1969, Ringo said in an interview with the BBC that “I want to be a film actor. I don’t want to be like Cary Grant or one of them who, like, really do the same performance in everything, and the story is the only thing that changes.”

Ringo & Barbara at their wedding

That may be the biggest takeaway in the career of Ringo Starr between July 7, 1968 and 1969 — because he did look at life beyond, or at least in addition to, the Beatles and rock and roll. Without the songwriting gifts of John, Paul and George, Ringo applied his natural charm to film, and was finally able to step fully out into the spotlight and marquee, without other Beatles to his side, or front. And while he was successful in the early 1970s with his solo career, he remained active on the screen, too, even if it wasn’t to that same critical or commercial success.

If you judge success by the bigger things in life, however, Ringo’s foray into film couldn’t have been any more fruitful. A few months before his 40th birthday, in 1980, Ringo filmed Caveman, starring alongside model Barbara Bach. After meeting on the set, they would wed a year later, and have been together ever since.

 

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Jan. 8: Nothing is real

Far from chaotic, the Get Back sessions, if anything, could be defined by its routines. Paul arrived early to play piano, and then pretty much ran the rehearsals. George’s songs — whether written overnight or brought back for another day — were a slog for everyone else. John didn’t have much new to offer, while Ringo did Ringo things like participate in conversations and keep the beat. Turn the page to the next day on the calendar, and do it all again.

Beyond music, the daily pattern underlying the scene centered around discussion of the live concert the Beatles were trying to put together. At once a footnote to the songs, the show was simultaneously the purpose of these January sessions and thus ostensibly what mattered most. The push and pull between director Michael Lindsay-Hogg’s wanderlust and the group’s default stance — to stay put — was a constant. And the more they couldn’t settle on a British venue, the closer they collectively moved toward simply staying in the very room where they were rehearsing and ruminating.

January 8, 1969, then, was no different than so many other days the Beatles spent at Twickenham the first half of the month. Discussion about the concert surfaced late in the work day, concurrent with Paul introducing the unfinished “The Long and Winding Road” and “Let It Be” to the rest of the band for the first time, and with their initial attempts at a full-band arrangement.

Yet now, to stage the “honest” sound they sought to achieve these sessions, the Beatles began to consider an ersatz solution. Rock and roll begets rocks, or something imitating it, at least.

Denis O’Dell (left) with Ringo at The Magic Christian shoot. Photo from O’Dell’s book, At The Apple’s Core.

“If we try to cover all this (Twickenham’s sound stage) and build caverns and caves, it’s nice, you see,” said Denis O’Dell, the head of Apple Films.

Why perform at the Cavern in Liverpool for the nearly 300th time, when you can simply craft your own cavern indoors? (Please don’t answer that.)

Denis had been in the film industry since before the Beatles were born, and his association with the group began in 1964, when he was associate producer on the A Hard Days Night film. It was the start of a mutually beneficial partnership to this point, which included How I Won the War (associate producer and John starred), Magical Mystery Tour (producer) and led to his appointment as an Apple executive.

Of course, you already know his name (but have to look up his number) from his time at Slaggers, and do note he is NOT related to Miss Chris O’Dell.

Denis had appeared sporadically on the tapes to this point, and here it dovetailed with one of the first times John seemed even marginally interested in what was going on with the live show.

“Then we could do what we’d like with a backing,” Denis told John. “Go black, or stark or something. Then we could control all our lights from a panel, and we could have all colors you’d like.”

“Yes. And they’ll be able to see us through everything.”

John invoked sets used by Stanley Kubrick, Denis’ boss on Dr. Strangelove (that film was the source of the footage used during the “Flying” sequence in Magical Mystery Tour), and the man floated to direct a version of Lord of the Rings starring the Beatles. An extensive recap of that aborted episode in Beatles history is discussed at length in Denis’ 2003 fine autobiography of his Beatles years, At The Apple’s Core.

The conversation would continue, with Denis asking someone to fetch George Djurkovic, art director of The Magic Christian, from the film’s set elsewhere at Twickenham to provide added insight. But while Paul continues to play “The Long and Winding Road” in the background the conversation on the tapes meandered to a new duo: Ringo — one of the stars of The Magic Christian — and Michael. While Denis and John spoke as if the live show was to be held at the studio, Michael continued negotiations on taking the show on the road with Ringo. They were the leaders of the rival factions: Stay-put Starr vs. the whole Hogg.

“If I do go, I think it’s better just to go for four or five days,” Ringo said, showing newfound flexibility. “We don’t need to go to rehearse.”

Ringo was willing to bend and travel, but there’s a catch: “I’d like to do it to a British audience.”

It’s a catch, but one Michael is willing to receive. “Can we all talk about it? Will you take the veto off if you can be convinced we can get an audience?” Michael asked.

A Roman amphitheater wasn’t artificial, but to Ringo, the whole reason to perform overseas was contrived. The only reason to travel was the “helicopter shot, you’ll see the sea, the theater. And that is, for one, two minutes, say, that shot isn’t worth me going down there when I really prefer to do it here.”

Two and a half months after Ringo suggested the Beatles perform before there for a “British audience,” John and Yoko would be married in Gibraltar (near Spain).

“I see us doing a good show here [at Twickenham], because it’s you [the Beatles],” Michael said, again conceding this could be the last TV program the band will ever do.

Speaking quickly, Michael continued:  “Everything you do has got to be good. All your albums are good. …. It’s not only you as the band, it’s not only them as songwriters, it’s the four of you.

“It’s got to be the best.”

Of course they’re the best. Like Ringo doesn’t know that?

“Every time we do anything it’s going to be the best,” Ringo replied. “Can’t we just do something straight?”

And back to Twickenham, and staying precisely put.

“At the moment, that scaffolding set and the tubular thing, it is kind of like four years ago,” Michael said. “And there’s nothing wrong with four years ago. … We’re all 28 now, or whatever we are. The audience isn’t the same, life isn’t the same.”

For the record, John, Ringo and Michael were all 28, Paul was 26 and George a wee 25. But his point remained legitimate. This wasn’t 1965 anymore.

“This place, it could be rock and roll, ” Michael began.

“It could be rock and roll in Tahiti or wherever you want to put us. What’s it called? (laughing)”

Michael’s not even sure himself. “It’s either Tunisia or Tripoli.”

Ringo asks about a British possession likewise on the Mediterranean — “What about Gibraltar?” — before turning his attention back to the room he was in and the music, ignored during the conversation.

How’s this for an idea of stripping a show down?

“See, Ringo said, “I’d watch an hour of just [Paul] playing the piano.”

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