Ringo's 10 greatest beats
Starr's best, as chosen by Rhythm's experts
![All I've Got To Do](https://cdn.mos.cms.futurecdn.net/24a518d42efbe2dd0996bbeb3c7249e8-320-80.jpg)
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.
![Long Tall Sally](https://cdn.mos.cms.futurecdn.net/afadf775fac23510dce5b1313b3d9c20-320-80.jpg)
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.
![Ticket To Ride](https://cdn.mos.cms.futurecdn.net/519474da05b3e9b52dc9bc145794bc8d-320-80.jpg)
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.
![Rain](https://cdn.mos.cms.futurecdn.net/ce3cf9b1c8c14262ef0572f2021fe7fe-320-80.jpg)
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.
![Tomorrow Never Knows](https://cdn.mos.cms.futurecdn.net/da31e229a7e73e9af16671a520b8c666-320-80.jpg)
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.
![She Said She Said](https://cdn.mos.cms.futurecdn.net/9dededbe12fc248522fd44bfc65df9b4-320-80.jpg)
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.
![Day Tripper](https://cdn.mos.cms.futurecdn.net/0051d8d69748106e061928267bb0598a-320-80.jpg)
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.
![Get Back](https://cdn.mos.cms.futurecdn.net/a4f8337789df45f259f3436fca307fce-320-80.jpg)
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.
![Come Together](https://cdn.mos.cms.futurecdn.net/943ee515ad48be7dec16c00d30e1b75f-320-80.jpg)
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.
![The End](https://cdn.mos.cms.futurecdn.net/9aacf957b5c5a95c804c17e98655a139-320-80.jpg)
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.