I was cleaning out my computer and came across this amazing find! I've got almost no memory of it. But I think it's real...

BEAT INSTRUMENTAL
Issue 19. November 1964
RINGO STARR and BRIAN BENNETT TALK DRUMS

What would be the result if some of our top groups had a grand re-shuffle? Just imagine George Harrison, with only slightly longer hair, in the Stones' line-up, or Paul McCartney playing bass for the Animals!

Impossible? Maybe. But let's listen to a discussion between Ringo Starr and Brian Bennett and see how they feel about a swap —

Brian: (laughing) "It would all depend on whether the money was right, wouldn't it? But I think I would fit in O.K. with the Beatles. Of course, it would mean a big change in style for me, and I don't think my tonsils would produce half as good a result as yours, Ringo"!

Ringo: "Thanks a lot, Brian. I'll send the cheque round tomorrow! But, you've no need to worry, I couldn't sing 'The Rise and Fall of Flingel Bunt' to save my life".

Brian: "Yes, it is a bit tricky. It's a funny thing, but I started out studying the violin. I scratched away for two years and, as if that wasn't enough, my Mum and Dad also wanted me to learn the piano, but I didn't fancy either of them and my parents didn't bother to push me hard. In a way, I wish they had, because I sincerely believe that you're better off later on if your parents discipline you when you're young."

Ringo: "Thank you, Professor Bennett, for that lecture on Child Welfare! No, I am only kidding! I think you're quite right. Just think, I might now be a world famous classical musician if my parents had forced me to play the violin. When did you first start hitting things, Brian?"

Brian: "I must have been about two when I had my first drum kit. It was made up of pots and pans in the kitchen sink, or so I am told. My parents got me my first drum kit when I was nine".

Ringo: "I was just double that age when I first took up drumming. My first kit cost £10 and was made up of bits and pieces from all sorts of makes. How much did yours cost?"

Brian: "Three pounds ten. It was just a toy set with starched canvas skins and, to be quite honest, I never bothered with it until five years afterwards. I see we're both using Ludwig kits at the moment—what do you think of them?"

Ringo: "Well, I've had three sets altogether, not counting my first one—you couldn't put a name to that because it was a mixture of so many bits and pieces—next came an Ajax, which had some pretty hard bashing in our early days; then I changed to a Premier kit, which I played up till 1963. But these Ludwigs are the very best—don't you agree?"

Brian: "Yes, definitely. They really are superb. Everyone seems to begin with an odd mixture when they start playing. My first collection consisted of a 'Doc' Hunt bass drum, an Olympic snare drum and a Zin cymbal. Then when a bit of money started coming in, I got a Black Pearl Premier kit. A bit later I changed to a black Trixon, which I used for five years and then a black Ludwig".

Ringo: "What's all the black for? Do you play at funerals or something?"

Brian: "No! It is just my favourite colour. Hank and Bruce bought me my present Ludwig kit at a place called Manny's in New York. But, one thing I did want to ask you, what do you think of tutors? I first learned to play by listening to other drummers, then I bought a Buddy Rich tutor which helped me a great deal. I used to idolise Buddy and copied his style until I developed one of my own. I don't think you ever do stop learning and I often work on my timing now by using a book called, "Hindermith's Elementary Training". I think it should be compulsory reading for every musician because it really does give you a fantastic sense of timing".

Ringo: "I can see you like tutors—can't say I've ever really found much use for them. I just joined a group and learned as I went along. I don't believe in shutting yourself up in a room all on your own and practising for hours, but everyone to his own method. One thing I'm quite certain about, I don't believe that 'rock' drummers should ever play modern jazz".

Brian: "Hey, wait a minute! I certainly don't agree with that! Most people would class me as a 'rock' drummer, but I still love to play modern jazz. It's so relaxing. I don't see why, if you are really dedicated to drumming, you shouldn't play all sorts of music."

Ringo: "O.K., Brian, let's just agree to disagree with that one! Tell me, how many groups did you play for before you joined the Shadows? It must have been quite a few".

Brian: "You're right there. I started, believe it or not, with the Wood Green Amateur Symphony Orchestra—very serious, that! Then jumped in the deep rock and roll end with Charlie (Wee Willie) Harris, then after that came Vince Eager, Vince Taylor, Tony Sheridan, Marty Wilde, and just about all the old Larry Parnes' stable. Eddie Cochran, Tommy Steele, The Krewcats, Joe Brown and then, finally, the Shadows. What about you?"

Ringo: "Oh, I just knocked around with a few Liverpool groups—none of the names would mean all that much—until I joined Rory Storm and the Hurricanes. That was the group I left when I joined the Beatles. Everyone was always changing groups in Liverpool. Some people seemed to do it every month. By the way, why is it that so few of us drummers seem to get in the songwriting stakes? No, wait a minute! You've written a few, haven't you?"

Brian: "Yes, I shared the writing credits for "Summer Holiday" and "Wonderful Life" with Bruce Welch. I think our main trouble is that you can't write songs on drums. I took up the piano again recently and that helped me to get down to those two numbers".

Ringo: "Who's your favourite drummer? Personally, I nominate Tony Newman of Sounds Incorporated. He's got a great style".

Brian: "Ooh! Let me have a think. I reckon that Kenny Clare comes first on my list. But, there are a lot of others who are pretty good; for example, Andy White and that other drummer . . . what's his name? . . . plays with the Insects. Ringo something or other".

Ringo: "Never heard of him!"

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