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Six O'Clock

January 01, 1970

For the time, see 12-hour clock.

"Six O'Clock" is a song by English rock musician Ringo Starr from his 1973 album Ringo. It was written by Starr's former Beatles bandmate Paul McCartney and the latter's wife, Linda, who also participated in the recording of the song. It was the first time McCartney and Starr had worked together since the Beatles' break-up in 1970. Their collaboration reflected an easing of the tensions that had existed between the two musicians for much of that period.

"Six O'Clock"
Song by Ringo Starr
from the album Ringo
Released2 November 1973
GenrePop
Length4:05
5:26 (extended)
LabelApple
Songwriter(s)Paul McCartney, Linda McCartney
Producer(s)Richard Perry

Produced by Richard Perry, "Six O'Clock" was recorded mainly at Apple Studios in London in April 1973. Following Starr's recent collaborations with George Harrison and John Lennon in Los Angeles, the session with McCartney added to speculation in the press that the Beatles were about to reunite. An extended version of the song appeared as a bonus track on the 1992 CD release of Starr's Goodnight Vienna album.

Background and composition edit

"Six o'clock in the morning/You've just gone to sleep." Paul wrote that. See, they knew me so well, they would write songs that they felt I could get away with.[1]

– Ringo Starr, 2001

Paul McCartney wrote "Six O'Clock" in response to a request from Ringo Starr, his former bandmate in the Beatles, for a contribution to his first rock solo album, titled Ringo.[2][3][4] Having agreed to attend the Grammy Awards ceremony in Nashville on 3 March 1973, Starr had begun compiling possible material for the album with Richard Perry, his producer,[5] with a plan to record in Los Angeles during the same visit to the United States.[6][7] Although Starr's relationship with McCartney had been strained by the effects of the Beatles' break-up in 1970, and by McCartney's subsequent lawsuit against his three former bandmates,[8][9] Starr said in late 1972 that relations among the ex-Beatles were "a lot better now … we're together as people [if not as a band], and that's more important really."[10] Once George Harrison and John Lennon had each agreed to contribute songs for Ringo, Starr was able to persuade McCartney by telling him: "You don't want to be left out, do you?"[11]

The song was credited to McCartney and his wife Linda.[12] The composition is a pop piano ballad[13] in a style that author Bruce Spizer views as typical of the contemporary music of the McCartneys' new group, Wings,[14] whose album Red Rose Speedway they had just completed. In a 2001 interview, Starr nevertheless cited "Six O'Clock" as an example of how his former bandmates always supplied him with material that suited his personality.[1] The song's lyrics address a friend or lover whom the singer confesses to not showing enough attention towards.[15] The repeated refrain "I don't treat you like I should" serves as an extended coda, anticipating a similar reprise in McCartney and Starr's 1997 collaboration "Beautiful Night".[16]

Recording edit

Starr recorded eight of the ten rhythm tracks for Ringo in Los Angeles during March 1973,[17][18] with guest musicians including Harrison, Lennon, Harry Nilsson, the Band, Marc Bolan, Billy Preston and Nicky Hopkins.[19] Among the recordings was "I'm the Greatest", which featured both Lennon and Harrison;[20] a highly publicised session at the time,[21][22] it marked the first occasion that three former Beatles had worked together since the band's break-up.[23][24] Recognising the importance of this, Starr decided to record "Six O'Clock" in London to ensure McCartney's participation on the album.[25][nb 1] The session was arranged to coincide with Starr's return to the UK for the world premiere[26] of That'll Be the Day,[29] a film in which he had a starring role.[30] In addition, Perry was due to advise on the music soundtrack for the Wings television special James Paul McCartney,[31][32] which McCartney had agreed to do to appease music publisher Lew Grade's concerns about the legitimacy of Linda's songwriting credits.[33][34][nb 2]

 
Paul and Linda McCartney at the 1974 Academy Awards. McCartney's participation in the recording of "Six O'Clock" ensured that all four former Beatles appeared on Starr's 1973 solo album.

Starr attended the premiere of That'll Be the Day on 12 April, with the McCartneys,[26] and then recorded the song's rhythm track on 16 April at the Beatles' Apple Studios.[37] Besides Starr, on drums and lead vocals, McCartney played piano and synthesizer, and sang backing vocals with Linda.[38] The other musicians on the track were bassist Klaus Voormann[39] – whose presence on "I'm the Greatest" had reignited rumours that he was to stand in for McCartney in a partial Beatles reunion[18][22] – and Vince Poncia, who played acoustic guitar and percussion.[40] Fifteen takes of the song were taped, with recording finishing at 6 am.[41] Late in the session, Perry played back some of the Los Angeles recordings;[32] McCartney then vocalised a kazoo-like solo (credited as "mouth sax")[39] on Starr's cover of the 1960 Johnny Burnette hit "You're Sixteen", and Starr overdubbed the sound of his own tap-dancing onto his composition "Step Lightly".[42] Further work was carried out on "Six O'Clock" at EMI's Abbey Road Studios,[17] as part of what Perry later described as "two or three wonderful nights" of recording in London.[32] Flutes and strings were added to the song, with McCartney providing the arrangement.[14]

News of Starr and McCartney recording together added to the media speculation that the Beatles might re-form.[43][44] While filming James Paul McCartney at Elstree Studios, McCartney had said that he saw "no real reason why we shouldn't get together again" once Lennon, Harrison and Starr had removed Allen Klein from his position as manager of Apple Corps, which they did on 31 March.[43] When fending off the reunion rumours during Wings' UK tour, in May 1973, McCartney said that writing the song and recording with Starr had merely been an act of friendship, adding: "I would do it for any friend."[45][nb 3]

Release edit

Apple Records released Ringo on 2 November 1973,[49] with "Six O'Clock" appearing as the album's eighth track, between "Step Lightly" and the Starr–Poncia composition "Devil Woman".[50] Helped by news of Starr having recorded with each of his former bandmates,[4] and the popularity of the single "Photograph", written by Starr and Harrison,[51] the album was a commercial and critical success.[52] The release was closely followed by that of Wings' Band on the Run album,[53] which gained critical acclaim for McCartney for the first time as a solo artist.[54][55]

The original mix of "Six O'Clock" extended to 5:26 due to the inclusion of the reprise-like coda, yet this portion was subsequently cut,[38][56] reducing the track length to 4:05.[14] While the LP face label for the US commercial release mistakenly gave the pre-edit length, the extended version of the song appeared only on promotional copies of Ringo and on some pressings in the cassette and 8-track cartridge formats.[14][nb 4] This full version of the song was included as a bonus track on the CD release of Starr's 1974 album Goodnight Vienna,[57] issued in November 1992.[58]

Critical reception edit

In his album review for Rolling Stone, Ben Gerson wrote of "Six O'Clock" having "a certain slight charm" but rued its lack of "collaborative feeling" next to the contributions from Harrison and Lennon. Gerson concluded that Starr was "merely grafted onto a typical McCartney confection".[59] In the NME, Charles Shaar Murray derided Ringo as "an album that should be purchased only by those who wish to go to extraordinary lengths to indulge their nostalgia for the Beatles", and he dismissed McCartney's composition as "well below form".[60] More impressed, Alan Betrock of Phonograph Record wrote: "Paul McCartney's 'Six O'Clock' would have been a perfect chart-topper for himself and Wings, possibly rivaling 'Yesterday' in worldwide stature. McCartney's patented string arrangement is refreshing to hear, offering a nice counterpart to Richard Perry's often overdone backgrounds. Perhaps 'Six O'Clock' is a bit too drawn out, but it still comes off quite nicely."[61] In his review for Disc magazine, Michael Benton described the song as "a mixture of sugar sweet lyrics and gentle music".[62]

In his 1977 book The Beatles Forever, Nicholas Schaffner admired Starr for bringing out the best in his collaborators, which in McCartney's case "produce[d] the strongest, most lyrical pop ballad he had composed since 'The Long and Winding Road'".[13] Writing in 1981, NME critic Bob Woffinden similarly opined that Starr's strength of character had ensured that the Beatles' past differences were forgotten, resulting in his three former bandmates providing "excellent compositions", with "Six O'Clock" "distinguished by a lovely melody".[2]

Among more recent commentators, former Mojo editor Mat Snow considers that whereas Harrison and Lennon "did their old buddy proud" on Ringo, McCartney's offering was "so weak that Ringo's rumbustious 'Devil Woman' beat it for intrigue and excitement".[63] Alan Clayson identifies the "snotty synthesiser ostinato" as the song's most salient feature, adding: "'Six O'Clock' could have been made up by McCartney in his sleep. It was certainly commensurate with the wispy lyrics and syrupy jingles that comprised Red Rose Speedway, Wings' 1973 album."[31] Conversely, Tim Riley describes the song as "a standout track",[64] while Robert Rodriguez views it as "a catchy ballad" that would have been "unremarkable" if issued by McCartney, yet it became a "stellar" track in Starr's version.[65]

In 1975, London-based recording engineer David Hentschel covered "Six O'Clock", along with all the other tracks on Ringo,[66] for his album Sta*rtling Music.[67] An experimental work featuring Hentschel on ARP synthesizer,[68] the album was one of the first releases on Starr's short-lived record label, Ring O' Records.[69]

Personnel edit

According to Bruce Spizer:[14]

Notes edit

  1. ^ During this period, McCartney was preparing for Wings' first major tour,[26] and his recent drugs conviction prevented him from entering America.[27] In addition, according to author Robert Rodriguez, McCartney was most likely keen to avoid meeting up with Lennon and Harrison until they had formally severed ties with their manager, Allen Klein.[28]
  2. ^ Grade owned both the British ATV network, which produced the special, and ATV Music Publishing, which had acquired the Beatles' Northern Songs publishing company in 1969.[33][34] Citing Linda's lack of credentials as a musician and songwriter, Grade had sued McCartney in 1971[35] on the grounds that the joint writing credit was a ruse that denied ATV the second composer's publishing royalties.[33][36]
  3. ^ As an example, McCartney stated he would do the same for singer Rod Stewart "if he rang up" – a comment that led to Stewart phoning him and requesting a song.[45] McCartney duly wrote "Mine for Me",[46] which he and Linda recorded with Stewart[47] for the latter's 1974 album Smiler.[48]
  4. ^ The Mexican LP used the 5:26 version, however, since pressings there were taken from the original master tape.[14]

References edit

  1. ^ a b Timothy White, "Music To My Ears: Ringo's All Starrs Play And Act Naturally", Billboard, 26 May 2001, p. 4 (retrieved 31 August 2016).
  2. ^ a b Woffinden, pp. 75, 77.
  3. ^ Doggett, pp. 198–99, 207.
  4. ^ a b Nick DeRiso, "40 Years Ago: Ringo Starr's 'Ringo' Features (Sort-Of) Beatles Reunion", Ultimate Classic Rock, 23 November 2013 (retrieved 30 August 2016).
  5. ^ Madinger & Easter, pp. 500–01.
  6. ^ Clayson, p. 241.
  7. ^ Rodriguez, p. 139.
  8. ^ Doggett, pp. 120, 122.
  9. ^ Clayson, pp. 211, 217.
  10. ^ Hunt, p. 68.
  11. ^ Doggett, pp. 207–08.
  12. ^ Spizer, p. 307.
  13. ^ a b Schaffner, pp. 160–61.
  14. ^ a b c d e f Spizer, p. 308.
  15. ^ Jackson, p. 97.
  16. ^ Madinger & Easter, pp. 389, 506.
  17. ^ a b Madinger & Easter, p. 501.
  18. ^ a b Spizer, p. 306.
  19. ^ Woffinden, p. 75.
  20. ^ Riley, pp. 564–65.
  21. ^ Badman, pp. 92, 94.
  22. ^ a b Harry, p. 118.
  23. ^ Rodriguez, pp. 437–38.
  24. ^ Steve Sutherland (ed.) NME Originals: Lennon, IPC Ignite! (London, 2003), p. 108.
  25. ^ Rodriguez, pp. 35, 438.
  26. ^ a b c Madinger & Easter, p. 182.
  27. ^ Sounes, pp. 300–01, 314.
  28. ^ Rodriguez, p. 35.
  29. ^ Spizer, pp. 306, 308.
  30. ^ Schaffner, pp. 151, 163.
  31. ^ a b Clayson, p. 243.
  32. ^ a b c John Tobler & Stuart Grundy, "Richard Perry", The Record Producers, BBC Books (London, 1982); excerpt available at Rock's Backpages (subscription required).
  33. ^ a b c Woffinden, p. 67.
  34. ^ a b Sounes, pp. 303–04.
  35. ^ Schaffner, p. 151.
  36. ^ Doggett, pp. 167–68.
  37. ^ Badman, pp. 96, 98.
  38. ^ a b Rodriguez, p. 36.
  39. ^ a b Album credits, Ringo CD (Apple/Capitol, 1991; produced by Richard Perry).
  40. ^ Castleman & Podrazik, p. 212.
  41. ^ Badman, p. 98.
  42. ^ Madinger & Easter, pp. 501, 504.
  43. ^ a b Hunt, p. 69.
  44. ^ Rodriguez, pp. 158, 438.
  45. ^ a b Badman, p. 100.
  46. ^ Badman, pp. 100, 143.
  47. ^ Rodriguez, p. 240.
  48. ^ Madinger & Easter, p. 201.
  49. ^ Badman, p. 111.
  50. ^ Castleman & Podrazik, p. 128.
  51. ^ Spizer, p. 305.
  52. ^ Rodriguez, pp. 157, 261.
  53. ^ Woffinden, p. 79.
  54. ^ Hunt, p. 14.
  55. ^ Palash Ghosh, "Band On The Run: 40 Years Ago, Paul McCartney Saved His Career With An Album Made Under Duress In Nigeria", International Business Times, 16 July 2013 (retrieved 31 August 2016).
  56. ^ Madinger & Easter, p. 506.
  57. ^ Madinger & Easter, pp. 506, 646.
  58. ^ Badman, p. 491.
  59. ^ Ben Gerson, , Rolling Stone, 20 December 1973, p. 73 (retrieved 31 August 2016).
  60. ^ Charles Shaar Murray, "Paul McCartney: Band On The Run/Ringo Starr: Ringo", NME, 19 January 1974; available at Rock's Backpages (subscription required).
  61. ^ Alan Betrock, "Ringo Starr: Ringo", Phonograph Record, December 1973; available at Rock's Backpages (subscription required).
  62. ^ Michael Benton, "Ringo's Album Unites the Beatles", Disc, 24 November 1973, p. 25.
  63. ^ Snow, p. 44.
  64. ^ Riley, p. 482.
  65. ^ Rodriguez, p. 158.
  66. ^ Clayson, p. 271.
  67. ^ Bob Woffinden, "Ringo Starr: Everyone One of Us Has All We Need …", NME, 12 April 1975; available at Rock's Backpages (subscription required).
  68. ^ Clayson, pp. 271–72.
  69. ^ Woffinden, p. 78.

Sources edit

  • Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
  • Alan Clayson, Ringo Starr, Sanctuary (London, 2003; ISBN 1-86074-488-5).
  • Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ISBN 978-0-06-177418-8).
  • Bill Harry, The Ringo Starr Encyclopedia, Virgin Books (London, 2004; ISBN 978-0-7535-0843-5).
  • Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005).
  • Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; ISBN 978-1-8483-6525-4).
  • Andrew Grant Jackson, Still the Greatest: The Essential Solo Beatles Songs, Scarecrow Press (Lanham, MD, 2012; ISBN 978-0-8108-8222-5).
  • Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Tim Riley, Lennon: The Man, the Myth, the Music – The Definitive Life, Random House (London, 2011; ISBN 978-0-7535-4020-6).
  • Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Mat Snow, The Beatles Solo: The Illustrated Chronicles of John, Paul, George, and Ringo After The Beatles (Volume 4: Ringo), Race Point Publishing (New York, NY, 2013; ISBN 978-1-937994-26-6).
  • Howard Sounes, Fab: An Intimate Life of Paul McCartney, HarperCollins (London, 2010; ISBN 978-0-00-723705-0).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN 0-906071-89-5).

January 01, 1970
clock, time, hour, clock, song, english, rock, musician, ringo, starr, from, 1973, album, ringo, written, starr, former, beatles, bandmate, paul, mccartney, latter, wife, linda, also, participated, recording, song, first, time, mccartney, starr, worked, togeth. For the time see 12 hour clock Six O Clock is a song by English rock musician Ringo Starr from his 1973 album Ringo It was written by Starr s former Beatles bandmate Paul McCartney and the latter s wife Linda who also participated in the recording of the song It was the first time McCartney and Starr had worked together since the Beatles break up in 1970 Their collaboration reflected an easing of the tensions that had existed between the two musicians for much of that period Six O Clock Song by Ringo Starrfrom the album RingoReleased2 November 1973GenrePopLength4 05 5 26 extended LabelAppleSongwriter s Paul McCartney Linda McCartneyProducer s Richard Perry Produced by Richard Perry Six O Clock was recorded mainly at Apple Studios in London in April 1973 Following Starr s recent collaborations with George Harrison and John Lennon in Los Angeles the session with McCartney added to speculation in the press that the Beatles were about to reunite An extended version of the song appeared as a bonus track on the 1992 CD release of Starr s Goodnight Vienna album Contents 1 Background and composition 2 Recording 3 Release 4 Critical reception 5 Personnel 6 Notes 7 References 8 SourcesBackground and composition edit Six o clock in the morning You ve just gone to sleep Paul wrote that See they knew me so well they would write songs that they felt I could get away with 1 Ringo Starr 2001 Paul McCartney wrote Six O Clock in response to a request from Ringo Starr his former bandmate in the Beatles for a contribution to his first rock solo album titled Ringo 2 3 4 Having agreed to attend the Grammy Awards ceremony in Nashville on 3 March 1973 Starr had begun compiling possible material for the album with Richard Perry his producer 5 with a plan to record in Los Angeles during the same visit to the United States 6 7 Although Starr s relationship with McCartney had been strained by the effects of the Beatles break up in 1970 and by McCartney s subsequent lawsuit against his three former bandmates 8 9 Starr said in late 1972 that relations among the ex Beatles were a lot better now we re together as people if not as a band and that s more important really 10 Once George Harrison and John Lennon had each agreed to contribute songs for Ringo Starr was able to persuade McCartney by telling him You don t want to be left out do you 11 The song was credited to McCartney and his wife Linda 12 The composition is a pop piano ballad 13 in a style that author Bruce Spizer views as typical of the contemporary music of the McCartneys new group Wings 14 whose album Red Rose Speedway they had just completed In a 2001 interview Starr nevertheless cited Six O Clock as an example of how his former bandmates always supplied him with material that suited his personality 1 The song s lyrics address a friend or lover whom the singer confesses to not showing enough attention towards 15 The repeated refrain I don t treat you like I should serves as an extended coda anticipating a similar reprise in McCartney and Starr s 1997 collaboration Beautiful Night 16 Recording editStarr recorded eight of the ten rhythm tracks for Ringo in Los Angeles during March 1973 17 18 with guest musicians including Harrison Lennon Harry Nilsson the Band Marc Bolan Billy Preston and Nicky Hopkins 19 Among the recordings was I m the Greatest which featured both Lennon and Harrison 20 a highly publicised session at the time 21 22 it marked the first occasion that three former Beatles had worked together since the band s break up 23 24 Recognising the importance of this Starr decided to record Six O Clock in London to ensure McCartney s participation on the album 25 nb 1 The session was arranged to coincide with Starr s return to the UK for the world premiere 26 of That ll Be the Day 29 a film in which he had a starring role 30 In addition Perry was due to advise on the music soundtrack for the Wings television special James Paul McCartney 31 32 which McCartney had agreed to do to appease music publisher Lew Grade s concerns about the legitimacy of Linda s songwriting credits 33 34 nb 2 nbsp Paul and Linda McCartney at the 1974 Academy Awards McCartney s participation in the recording of Six O Clock ensured that all four former Beatles appeared on Starr s 1973 solo album Starr attended the premiere of That ll Be the Day on 12 April with the McCartneys 26 and then recorded the song s rhythm track on 16 April at the Beatles Apple Studios 37 Besides Starr on drums and lead vocals McCartney played piano and synthesizer and sang backing vocals with Linda 38 The other musicians on the track were bassist Klaus Voormann 39 whose presence on I m the Greatest had reignited rumours that he was to stand in for McCartney in a partial Beatles reunion 18 22 and Vince Poncia who played acoustic guitar and percussion 40 Fifteen takes of the song were taped with recording finishing at 6 am 41 Late in the session Perry played back some of the Los Angeles recordings 32 McCartney then vocalised a kazoo like solo credited as mouth sax 39 on Starr s cover of the 1960 Johnny Burnette hit You re Sixteen and Starr overdubbed the sound of his own tap dancing onto his composition Step Lightly 42 Further work was carried out on Six O Clock at EMI s Abbey Road Studios 17 as part of what Perry later described as two or three wonderful nights of recording in London 32 Flutes and strings were added to the song with McCartney providing the arrangement 14 News of Starr and McCartney recording together added to the media speculation that the Beatles might re form 43 44 While filming James Paul McCartney at Elstree Studios McCartney had said that he saw no real reason why we shouldn t get together again once Lennon Harrison and Starr had removed Allen Klein from his position as manager of Apple Corps which they did on 31 March 43 When fending off the reunion rumours during Wings UK tour in May 1973 McCartney said that writing the song and recording with Starr had merely been an act of friendship adding I would do it for any friend 45 nb 3 Release editApple Records released Ringo on 2 November 1973 49 with Six O Clock appearing as the album s eighth track between Step Lightly and the Starr Poncia composition Devil Woman 50 Helped by news of Starr having recorded with each of his former bandmates 4 and the popularity of the single Photograph written by Starr and Harrison 51 the album was a commercial and critical success 52 The release was closely followed by that of Wings Band on the Run album 53 which gained critical acclaim for McCartney for the first time as a solo artist 54 55 The original mix of Six O Clock extended to 5 26 due to the inclusion of the reprise like coda yet this portion was subsequently cut 38 56 reducing the track length to 4 05 14 While the LP face label for the US commercial release mistakenly gave the pre edit length the extended version of the song appeared only on promotional copies of Ringo and on some pressings in the cassette and 8 track cartridge formats 14 nb 4 This full version of the song was included as a bonus track on the CD release of Starr s 1974 album Goodnight Vienna 57 issued in November 1992 58 Critical reception editIn his album review for Rolling Stone Ben Gerson wrote of Six O Clock having a certain slight charm but rued its lack of collaborative feeling next to the contributions from Harrison and Lennon Gerson concluded that Starr was merely grafted onto a typical McCartney confection 59 In the NME Charles Shaar Murray derided Ringo as an album that should be purchased only by those who wish to go to extraordinary lengths to indulge their nostalgia for the Beatles and he dismissed McCartney s composition as well below form 60 More impressed Alan Betrock of Phonograph Record wrote Paul McCartney s Six O Clock would have been a perfect chart topper for himself and Wings possibly rivaling Yesterday in worldwide stature McCartney s patented string arrangement is refreshing to hear offering a nice counterpart to Richard Perry s often overdone backgrounds Perhaps Six O Clock is a bit too drawn out but it still comes off quite nicely 61 In his review for Disc magazine Michael Benton described the song as a mixture of sugar sweet lyrics and gentle music 62 In his 1977 book The Beatles Forever Nicholas Schaffner admired Starr for bringing out the best in his collaborators which in McCartney s case produce d the strongest most lyrical pop ballad he had composed since The Long and Winding Road 13 Writing in 1981 NME critic Bob Woffinden similarly opined that Starr s strength of character had ensured that the Beatles past differences were forgotten resulting in his three former bandmates providing excellent compositions with Six O Clock distinguished by a lovely melody 2 Among more recent commentators former Mojo editor Mat Snow considers that whereas Harrison and Lennon did their old buddy proud on Ringo McCartney s offering was so weak that Ringo s rumbustious Devil Woman beat it for intrigue and excitement 63 Alan Clayson identifies the snotty synthesiser ostinato as the song s most salient feature adding Six O Clock could have been made up by McCartney in his sleep It was certainly commensurate with the wispy lyrics and syrupy jingles that comprised Red Rose Speedway Wings 1973 album 31 Conversely Tim Riley describes the song as a standout track 64 while Robert Rodriguez views it as a catchy ballad that would have been unremarkable if issued by McCartney yet it became a stellar track in Starr s version 65 In 1975 London based recording engineer David Hentschel covered Six O Clock along with all the other tracks on Ringo 66 for his album Sta rtling Music 67 An experimental work featuring Hentschel on ARP synthesizer 68 the album was one of the first releases on Starr s short lived record label Ring O Records 69 Personnel editAccording to Bruce Spizer 14 Ringo Starr vocals drums Paul McCartney piano synthesizer backing vocal flute and string arrangements Vini Poncia acoustic guitar percussion Klaus Voormann bass Linda McCartney backing vocalNotes edit During this period McCartney was preparing for Wings first major tour 26 and his recent drugs conviction prevented him from entering America 27 In addition according to author Robert Rodriguez McCartney was most likely keen to avoid meeting up with Lennon and Harrison until they had formally severed ties with their manager Allen Klein 28 Grade owned both the British ATV network which produced the special and ATV Music Publishing which had acquired the Beatles Northern Songs publishing company in 1969 33 34 Citing Linda s lack of credentials as a musician and songwriter Grade had sued McCartney in 1971 35 on the grounds that the joint writing credit was a ruse that denied ATV the second composer s publishing royalties 33 36 As an example McCartney stated he would do the same for singer Rod Stewart if he rang up a comment that led to Stewart phoning him and requesting a song 45 McCartney duly wrote Mine for Me 46 which he and Linda recorded with Stewart 47 for the latter s 1974 album Smiler 48 The Mexican LP used the 5 26 version however since pressings there were taken from the original master tape 14 References edit a b Timothy White Music To My Ears Ringo s All Starrs Play And Act Naturally Billboard 26 May 2001 p 4 retrieved 31 August 2016 a b Woffinden pp 75 77 Doggett pp 198 99 207 a b Nick DeRiso 40 Years Ago Ringo Starr s Ringo Features Sort Of Beatles Reunion Ultimate Classic Rock 23 November 2013 retrieved 30 August 2016 Madinger amp Easter pp 500 01 Clayson p 241 Rodriguez p 139 Doggett pp 120 122 Clayson pp 211 217 Hunt p 68 Doggett pp 207 08 Spizer p 307 a b Schaffner pp 160 61 a b c d e f Spizer p 308 Jackson p 97 Madinger amp Easter pp 389 506 a b Madinger amp Easter p 501 a b Spizer p 306 Woffinden p 75 Riley pp 564 65 Badman pp 92 94 a b Harry p 118 Rodriguez pp 437 38 Steve Sutherland ed NME Originals Lennon IPC Ignite London 2003 p 108 Rodriguez pp 35 438 a b c Madinger amp Easter p 182 Sounes pp 300 01 314 Rodriguez p 35 Spizer pp 306 308 Schaffner pp 151 163 a b Clayson p 243 a b c John Tobler amp Stuart Grundy Richard Perry The Record Producers BBC Books London 1982 excerpt available at Rock s Backpages subscription required a b c Woffinden p 67 a b Sounes pp 303 04 Schaffner p 151 Doggett pp 167 68 Badman pp 96 98 a b Rodriguez p 36 a b Album credits Ringo CD Apple Capitol 1991 produced by Richard Perry Castleman amp Podrazik p 212 Badman p 98 Madinger amp Easter pp 501 504 a b Hunt p 69 Rodriguez pp 158 438 a b Badman p 100 Badman pp 100 143 Rodriguez p 240 Madinger amp Easter p 201 Badman p 111 Castleman amp Podrazik p 128 Spizer p 305 Rodriguez pp 157 261 Woffinden p 79 Hunt p 14 Palash Ghosh Band On The Run 40 Years Ago Paul McCartney Saved His Career With An Album Made Under Duress In Nigeria International Business Times 16 July 2013 retrieved 31 August 2016 Madinger amp Easter p 506 Madinger amp Easter pp 506 646 Badman p 491 Ben Gerson Ringo Starr Ringo Rolling Stone 20 December 1973 p 73 retrieved 31 August 2016 Charles Shaar Murray Paul McCartney Band On The Run Ringo Starr Ringo NME 19 January 1974 available at Rock s Backpages subscription required Alan Betrock Ringo Starr Ringo Phonograph Record December 1973 available at Rock s Backpages subscription required Michael Benton Ringo s Album Unites the Beatles Disc 24 November 1973 p 25 Snow p 44 Riley p 482 Rodriguez p 158 Clayson p 271 Bob Woffinden Ringo Starr Everyone One of Us Has All We Need NME 12 April 1975 available at Rock s Backpages subscription required Clayson pp 271 72 Woffinden p 78 Sources editKeith Badman The Beatles Diary Volume 2 After the Break Up 1970 2001 Omnibus Press London 2001 ISBN 0 7119 8307 0 Harry Castleman amp Walter J Podrazik All Together Now The First Complete Beatles Discography 1961 1975 Ballantine Books New York NY 1976 ISBN 0 345 25680 8 Alan Clayson Ringo Starr Sanctuary London 2003 ISBN 1 86074 488 5 Peter Doggett You Never Give Me Your Money The Beatles After the Breakup It Books New York NY 2011 ISBN 978 0 06 177418 8 Bill Harry The Ringo Starr Encyclopedia Virgin Books London 2004 ISBN 978 0 7535 0843 5 Chris Hunt ed NME Originals Beatles The Solo Years 1970 1980 IPC Ignite London 2005 Chris Ingham The Rough Guide to the Beatles Rough Guides Penguin London 2006 2nd edn ISBN 978 1 8483 6525 4 Andrew Grant Jackson Still the Greatest The Essential Solo Beatles Songs Scarecrow Press Lanham MD 2012 ISBN 978 0 8108 8222 5 Chip Madinger amp Mark Easter Eight Arms to Hold You The Solo Beatles Compendium 44 1 Productions Chesterfield MO 2000 ISBN 0 615 11724 4 Tim Riley Lennon The Man the Myth the Music The Definitive Life Random House London 2011 ISBN 978 0 7535 4020 6 Robert Rodriguez Fab Four FAQ 2 0 The Beatles Solo Years 1970 1980 Backbeat Books Milwaukee WI 2010 ISBN 978 1 4165 9093 4 Nicholas Schaffner The Beatles Forever McGraw Hill New York NY 1978 ISBN 0 07 055087 5 Mat Snow The Beatles Solo The Illustrated Chronicles of John Paul George and Ringo After The Beatles Volume 4 Ringo Race Point Publishing New York NY 2013 ISBN 978 1 937994 26 6 Howard Sounes Fab An Intimate Life of Paul McCartney HarperCollins London 2010 ISBN 978 0 00 723705 0 Bruce Spizer The Beatles Solo on Apple Records 498 Productions New Orleans LA 2005 ISBN 0 9662649 5 9 Bob Woffinden The Beatles Apart Proteus London 1981 ISBN 0 906071 89 5 Retrieved from https en wikipedia org w index php title Six O 27Clock amp oldid 1144907695, wikipedia, wiki, book, books, library,

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