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Old Wave
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| Old Wave | ||||
|---|---|---|---|---|
.jpg) | ||||
| Studio album by | ||||
| Released | 16 June 1983 | |||
| Recorded | 23 July 1978 February, 6–16 April, May–July 1982 | |||
| Studio | Sweet Silence Studios, Copenhagen, Denmark; Ascot Sound Studios, Berkshire, England | |||
| Genre | Rock | |||
| Length | 36:52 | |||
| Label | Bellaphon (Germany) RCA (Canada) | |||
| Producer | ||||
| Ringo Starr chronology | ||||
| ||||
| Singles from Old Wave | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
| The Encyclopedia of Popular Music | [2] |
| The Essential Rock Discography | 3/10[3] |
| MusicHound | 2/5[4] |
| The Rolling Stone Album Guide | [5] |
Old Wave is the ninth studio album by the English rock musician Ringo Starr. It was originally released in June 1983, on the label Bellaphon, and is the two-year follow-up to his 1981 album Stop and Smell the Roses. The title is a play on new wave music.
Background and recording
[edit]After John Lennon's murder in December 1980, Starr returned home to England to live at Tittenhurst Park, which Starr had purchased from Lennon in 1973.[6] In early 1982, Starr was eager to move on to his next solo project. Deciding that he needed more consistency this time around, he would work with only one producer, Joe Walsh,[1] a former member of the recently disbanded Eagles.[7] Walsh and Starr had known each other since the mid-1970s, having met and befriended each other in Los Angeles. Walsh immediately agreed to work with Starr and they met at Tittenhurst in February to begin writing material.[8] Recording began shortly afterwards and instrumental backing tracks for seven songs were recorded at Startling Studios,[9] after Starr had previously converted Lennon's recording studio.[7] Engineering duties were handled by Jim Nipor.[8] These sessions were mainly done with a team consisting of Starr on drums and percussion, Walsh on guitar and backing vocals, Mo Foster on bass and both Gary Brooker and Chris Stainton on keyboards.[9]
Sessions came to a halt when Walsh and Nipor went to California on 19 March.[9] Sessions recommenced on 6 April[7] for a few days until 16 April.[6] On 15 April, Rolling Stone broke the news that Starr was "in London working on a new album with Joe Walsh acting as the producer."[6] Lead vocals were laid down from 19 to 23 April.[9] Sometime in May, Starr requested permission from the Windsor and Maidenhead District Council to build a new building on his Tittenhurst Park land, which he would use for video and recording purposes.[6] Sessions resumed from 31 May until 10 June; the next day, taking the masters recorded up to that point with him, Starr and his wife Barbara Bach flew from London to Los Angeles, and returned on 14 June.[6] The album was finished with a third batch of sessions from 24 June into early July.[6]
"Everybody's in a Hurry But Me" came about from a jam session between the Who bassist John Entwistle, drummer and percussionist Ray Cooper and Eric Clapton.[10] "As Far as We Can Go" was originally recorded at Sweet Silence Studios in Copenhagen, Denmark, on 23 July 1978. From that original rendition, only the vocal was used. Walsh re-recorded an entirely new track using one of the latest technology synthesizers.[11]
Release and aftermath
[edit]The album was originally titled It Beats Sleep.[6][12] The portrait on the album cover was shot in a booth in northern England,[8] taken before Starr had joined the Beatles.[13] As Starr's RCA contract had been cancelled, he needed to find a new label for Old Wave. Although it was just over a decade after the Beatles' dissolution, no major UK or US record company was interested in signing him. Starr would not accept that and was determined to have Old Wave released any way he could. The album was due to be released on the Boardwalk label, but never appeared, due to the death of the label's head, Neil Bogart.[1][14] RCA Canada ended up distributing the album in June 1983 in Canada, Australia, New Zealand, Japan, the Netherlands, Mexico, and Brazil;[1] while in Germany, the album and lone single pulled from it, both released on 16 June,[15] appeared on Bellaphon but used leftover Boardwalk labels.[nb 1][16] The Canadian release of the album occurred on 24 June.[nb 2][15] However, Old Wave failed to achieve success in any of these territories, and would be Starr's last studio album until 1992's Time Takes Time. Two singles were pulled from the album: one in Germany, "In My Car", backed with "As Far as We Can Go",[nb 3][17] and the other in Mexico ("I Keep Forgettin'" b/w "She's About a Mover").
Walsh's 1987 album Got Any Gum? included a cover of "In My Car", which was released as a single and became a moderate hit. Four tracks from the album appeared on Starr's US compilation Starr Struck: Best of Ringo Starr, Vol. 2 in 1989.[6] The album was reissued on CD in the US by The Right Stuff on 22 August 1994, the same day as Stop and Smell the Roses (1981).[nb 4][19] Both CD and cassette deluxe editions included a bonus track,[19] the original 1978 version of "As Far as We Can Go".[12] On 1 November 1994, Right Stuff re-released "In My Car", this time on yellow vinyl, with "She's About a Mover" as the B-side. A promotional CD was released in 1994 by Capitol, featuring three songs from both Old Wave and Stop and Smell the Roses.[nb 5][9] The album was rereleased on brown smoke colored vinyl for Record Store Day in 2022 along with Ringo the 4th. The rerelease included "As Far as We Can Go (Original Version)", which was not included on any previous vinyl issues.[20]
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "In My Car" | 3:13 | |
| 2. | "Hopeless" |
| 3:17 |
| 3. | "Alibi" |
| 4:00 |
| 4. | "Be My Baby" | Walsh | 3:44 |
| 5. | "She's About a Mover" | Doug Sahm | 3:52 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "I Keep Forgettin'" | 4:18 | |
| 2. | "Picture Show Life" |
| 4:21 |
| 3. | "As Far as We Can Go" | Russ Ballard | 3:52 |
| 4. | "Everybody's in a Hurry But Me" |
| 2:35 |
| 5. | "Going Down" |
| 3:34 |
- Bonus track on the 1994 re-issue
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 11. | "As Far as We Can Go" (original version) | Ballard | 5:33 |
Personnel
[edit]Track numbering refers to CD and digital releases of the album.
|
|
References
[edit]Footnotes
Citations
- ^ a b c d Ruhlmann, William. "Old Wave – Ringo Starr : Songs, Reviews, Credits, Awards". AllMusic. Retrieved 29 September 2012.
- ^ Larkin, Colin (2011). The Encyclopedia of Popular Music (5th edn). London: Omnibus Press. p. 1984. ISBN 978-0-85712-595-8.
- ^ Strong, Martin C. (2006). The Essential Rock Discography. Edinburgh, UK: Canongate. p. 1028. ISBN 978-1-84195-827-9.
- ^ Gary Graff & Daniel Durchholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; ISBN 1-57859-061-2), p. 1083.
- ^ Brackett, Nathan, with Hoard, Christian (eds) (2004). The New Rolling Stone Album Guide (4th edn). New York, NY: Fireside. p. 777. ISBN 0-7432-0169-8.
- ^ a b c d e f g h Miles, Barry; Badman, Keith, eds. (2001). The Beatles Diary After the Break-Up: 1970–2001 (reprint ed.). London: Music Sales Group. ISBN 978-0-7119-8307-6.
- ^ a b c Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 128. ISBN 978-0-7535-0843-5.
- ^ a b c Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 260. ISBN 978-0-7535-0843-5.
- ^ a b c d e f Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 261. ISBN 978-0-7535-0843-5.
- ^ Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 196. ISBN 978-0-7535-0843-5.
- ^ Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 124. ISBN 978-0-7535-0843-5.
- ^ a b Calkin, Graham. "Old Wave". Jpgr.co.uk. Retrieved 29 September 2012.
- ^ Jeff Lancaster quoted by Graham Calkin : http://www.jpgr.co.uk/t229675.html
- ^ Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 90. ISBN 978-0-7535-0843-5.
- ^ a b Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 130. ISBN 978-0-7535-0843-5.
- ^ a b c Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 184. ISBN 978-0-7535-0843-5.
- ^ a b Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 223. ISBN 978-0-7535-0843-5.
- ^ Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 185. ISBN 978-0-7535-0843-5.
- ^ a b Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. p. 147. ISBN 978-0-7535-0843-5.
- ^ RSDBF '22 Special Release: Ringo Starr – Old Wave, retrieved 30 November 2022
External links
[edit]
Old Wave
View on Grokipediafrom Grokipedia
Old Wave is the ninth studio album by English rock musician Ringo Starr, released on 16 June 1983 by the Bellaphon label in Germany.[1] It marks the follow-up to Starr's 1981 album Stop and Smell the Roses and was his first solo studio release not distributed in the United States or United Kingdom due to the expiration of his contract with RCA Records.[1] The album consists of ten tracks, primarily in pop rock and soft rock styles, with songwriting contributions from Starr himself alongside composers such as Russ Ballard and Michael McDonald.[2]
Recorded across multiple sessions from 1978 and 1982 at locations including Startling Studios in Tittenhurst Park and Joe Walsh's studio in Santa Barbara, Old Wave was largely produced by Eagles guitarist Joe Walsh, with additional production by Russ Ballard on select tracks.[1] Key personnel included notable collaborators like Eric Clapton on guitar, Gary Brooker on piano, and John Entwistle on bass, alongside backing vocalists including Starr's wife Barbara Bach.[1] The track listing features upbeat numbers such as the lead single "In My Car," a Ballard co-write, and covers like "I Keep Forgettin'," originally by McDonald, emphasizing themes of relationships, travel, and everyday life.[2]
Despite positive elements in its production and guest appearances, Old Wave achieved limited commercial success, failing to chart significantly and receiving mixed critical reception for its mismatched pop-oriented songs with Starr's vocal style.[3] It was reissued in various formats over the years, including a limited-edition CD for Record Store Day in 2022 and a translucent yellow vinyl edition in 2023, both by Culture Factory USA.[4][5] The album's title playfully references the contemporaneous new wave genre, positioning it as a nod to more traditional rock sounds.[6]
The album's standard runtime is 36:46.[29] Tracks 2 ("Hopeless"), 3 ("Alibi"), and 10 ("Going Down") are co-writes by Starr and producer Joe Walsh; "In My Car" is a co-write by Walsh, Starr, Mo Foster, and Kim Goody; "As Far as We Can Go" is written by Ballard.[30][8][6]
The 1994 CD reissue by Right Stuff adds a bonus track: the 1978 version of "As Far as We Can Go" (Russ Ballard) – 5:33.[1]
No significant regional variations in the track listing exist, though a promotional single of "In My Car" backed with "As Far as We Can Go" was released in Germany.[10]
Production
Background
Following the murder of his former Beatles bandmate John Lennon on December 8, 1980, Ringo Starr was deeply affected emotionally, prompting a significant shift in his personal life and career motivation. The tragedy shook Starr profoundly, leading him to seek solace and reconnection with his roots by relocating to the United Kingdom after years based in the United States. This move was influenced by a desire for stability amid grief and the challenges of his post-Beatles solo career, which had seen declining commercial success with albums like Stop and Smell the Roses (1981).[7] Starr settled at Tittenhurst Park, the Ascot estate he had purchased from Lennon in 1973, where he established his Startling Studios. In February 1982, he began initial songwriting sessions there with longtime friend and collaborator Joe Walsh, who would later become his brother-in-law through Walsh's marriage to Starr's sister-in-law Marjorie Bach. These early sessions were informal and relaxed, involving casual jams that sparked creative ideas for several tracks, helping Starr rebuild his enthusiasm for music after the personal turmoil of Lennon's death and professional setbacks.[1] Facing a lack of support from major labels—RCA Records had dropped Starr following the underwhelming performance of his previous releases—the album was produced independently and released in limited markets without distribution in the UK or US. The pre-production phase emphasized collaborative song development through these low-key gatherings, setting the stage for a return to a more organic, rock-oriented sound reminiscent of Starr's earlier efforts.[1]Recording
The recording sessions for Old Wave primarily took place at Startling Studios, located at Ringo Starr's Tittenhurst Park home in Ascot, Berkshire, England, spanning from February to July 1982.[1] Additional work occurred in March 1982 at Joe Walsh's personal studio in Santa Barbara, California, and mixing was finalized in Los Angeles during June and July.[1] One track, "As Far as We Can Go," incorporated vocals from an earlier session recorded on 23 July 1978 at Sweet Silence Studios in Copenhagen, Denmark, with new backing tracks added in 1982.[1] Initial tracking began with core band sessions from 6–16 April 1982 at Startling Studios, focusing on drums, guitars, bass, and keyboards performed by Starr, Walsh, Mo Foster, Gary Brooker, and Chris Stainton.[8] Overdubs followed in phases, including 31 May–10 June and from 24 June into July, where Walsh emphasized layered guitar arrangements to drive the rock-oriented sound.[8] Russ Ballard contributed pop-rock elements through his production on select tracks he co-wrote, such as "Hopeless" and "Alibi," blending melodic hooks with the album's overall energy.[1] Starr's drum contributions were central to the sessions, with his playing recorded live alongside the core musicians to capture a raw, band-like feel on most tracks.[3] Additional overdub sessions featured guest artists, including a spontaneous jam for "Everybody's in a Hurry But Me" with Eric Clapton on guitar, John Entwistle on bass, and Ray Cooper on percussion.[1] The final mixes were completed by early July 1982, resulting in a cohesive album ready for release later that year.[8]Release
Initial Release and Promotion
Old Wave was first released on 16 June 1983 in Germany by Bellaphon Records, following the collapse of Ringo Starr's planned deal with Boardwalk Records after the death of its founder, Neil Bogart, in May 1982.[1][9] The album's distribution was handled regionally due to Starr's lack of a major label contract in the UK and US after his RCA deal expired following the poor performance of his prior release, Stop and Smell the Roses; in Canada, it appeared on 24 June 1983 via RCA Records.[10][6] This independent reliance resulted in variations across markets, including different labels, LP and cassette formats, and minor artwork differences, such as a promotional Spanish edition titled Vieja Ola.[2] Promotion efforts were constrained by the album's limited backing and Starr's personal struggles with alcohol, which impacted his ability to engage in extensive publicity activities.[11] The campaign focused on Europe, where a single from the album, "In My Car" (backed by "As Far as We Can Go"), was issued on the release date in Germany, accompanied by a promotional video.[10][9] Efforts included pushes for radio airplay in European markets to capitalize on Starr's Beatles legacy, though no major tour supported the launch.[12] Marketing positioned Old Wave as a potential comeback for Starr, highlighting producer Joe Walsh's involvement to emphasize a return to rock-oriented sounds amid his career slump.[6] However, the absence of major label resources and distribution barriers in key territories like the US and UK severely limited the album's visibility and promotional reach.[1]Commercial Performance
Old Wave achieved limited commercial success following its June 1983 release, primarily due to constrained distribution channels resulting from Starr's lack of a major label deal after being dropped by RCA following the underwhelming performance of his previous album, Stop and Smell the Roses. The album was issued in Europe through the independent German label Bellaphon and in select other markets including Canada, Australia, Japan, the Netherlands, Mexico, and Brazil (via RCA), but it received no official release in the United States or United Kingdom, preventing any chart entry in those territories.[1][6] Sales were modest, with worldwide pure sales estimated at 135,000 units, qualifying the release as a commercial failure in the context of Starr's earlier platinum-selling solo albums from the 1970s. Regional performance varied, showing slightly stronger uptake in Europe—particularly Germany—owing to Bellaphon's targeted promotion, while North American sales remained negligible without broader RCA support beyond Canada.[13] Several factors contributed to this underperformance, including Starr's extended hiatus from music amid struggles with alcoholism during the early 1980s, which delayed his return and diminished his visibility; intense competition from high-profile 1983 releases by artists like Michael Jackson and David Bowie; and the inherent limitations of independent label distribution, which restricted marketing reach and retail availability.[6][14]Reissues
The first compact disc edition of Old Wave was issued in 1994 by The Right Stuff in the United States, serving as the album's initial digital release and incorporating remastering to enhance audio fidelity.[15] During the 2010s, Old Wave gained wider availability through digital streaming and download services, including iTunes and Spotify.[16] Physical reissues resumed in 2022 with a limited-edition vinyl via Culture Factory for Record Store Day Black Friday, pressed on brown smoke colored vinyl at 2000 copies, remastered for superior sound quality, and retaining the original artwork; it sold out promptly following its November 25 release.[17] Subsequent limited-edition vinyl reissues followed in 2023 (Yellow Submarine edition in translucent yellow vinyl, October 31, Culture Factory, limited edition) and 2024 (picture disc, remastered, November 15, Culture Factory, limited edition).[18][19]Reception and Legacy
Critical Reception
Upon its 1983 release, Old Wave garnered mixed critical reception, with reviewers highlighting both its strengths in production and collaborations amid Ringo Starr's commercial struggles. Joe Walsh's production was frequently praised for its polished pop/rock sound, particularly on tracks like "In My Car," which featured catchy hooks suitable for radio play. Guest appearances, such as Eric Clapton's guitar work on "Everybody's in a Hurry But Me," added notable energy and appeal to select songs.[3] Critics commonly pointed to Starr's limited vocal range as a drawback, especially on ballads and more demanding material that required greater versatility, and described many of the rock-oriented tracks as formulaic and lacking innovation. In a retrospective review, AllMusic's William Ruhlmann rated the album 3 out of 5 stars, calling it a "solid but unremarkable effort" that assembled good songs but felt mismatched for Starr's style.[3] The overall consensus positioned Old Wave as uneven yet enjoyable in parts, often viewed as underrated given Starr's slump, though it failed to generate widespread acclaim due to its limited distribution outside select markets.[6][20]Aftermath and Reappraisal
Following the commercial disappointment of Old Wave, which failed to chart significantly anywhere and received limited distribution outside select markets like Canada and Germany, Ringo Starr faced rejection from major record labels, marking the end of his ability to secure mainstream deals for studio albums during the 1980s.[21] This lack of industry support, combined with Starr's deepening struggles with alcoholism that clouded much of his 1970s and 1980s, led to a six-year hiatus from new recordings, during which he produced no studio material until the formation of his All-Starr Band in 1989.[14][22] The album's poor reception effectively closed Starr's phase of frequent solo studio releases from the 1970s and early 1980s, prompting a pivot toward live performances as his primary outlet, exemplified by the collaborative All-Starr Band tours that emphasized camaraderie over new compositions.[23] This shift sustained his career through the late 1980s and beyond, allowing recovery from personal challenges—Starr achieved sobriety in 1988—before his return to studio work with 1992's Time Takes Time.[24] In recent years, a limited-edition reissue of Old Wave for Record Store Day Black Friday 2022 has renewed interest among fans and collectors, highlighting its raw, collaborative energy with contributors like Joe Walsh.[25] Some contemporary critics have reappraised it as an overlooked gem in Starr's discography, praising its unpolished rock vibe amid his otherwise uneven solo output.[26] Within broader discussions of Beatles solo careers, Old Wave is often cited as a nadir that has evolved into a cult favorite for its earnest, if flawed, snapshot of Starr's musicianship, though it has inspired no notable covers or samples in popular music.[27]Musical Content
Style and Themes
Old Wave showcases a pop-rock style infused with elements of 1980s production, featuring bright, polished arrangements designed for radio play and characterized by catchy, likeable melodies. The album's sound draws heavily from producer Joe Walsh's rock influences, incorporating prominent guitar work such as slide guitar and talk box effects, giving it a robust, Eagles-esque texture that emphasizes straightforward rock energy over experimental variety. Co-produced in part by Russ Ballard, known for his hit songwriting with acts like Hot Chocolate and Frida, the record echoes his knack for accessible, hook-driven pop structures, blending these with subtle touches of contemporary synth layering to bridge classic rock simplicity and era-specific polish. Ringo Starr's distinctive drumming provides a steady rhythmic anchor, maintaining a Beatles-like accessibility amid the heavier instrumentation. Lyrically, the album delves into themes of everyday life, personal relationships, and escapism, often through lighthearted narratives that offer relief from routine or fleeting moments of joy. Motifs of driving and forgetfulness recur as symbols of transient freedom and humorous self-reflection, contributing to an overall affable and upbeat tone that masks deeper undercurrents. This playful approach contrasts with Starr's personal and professional difficulties at the time, during a period of career instability without a major U.S. label.[28] In terms of structure, Old Wave marks a departure from the eclectic, star-studded collaborations of Starr's prior albums like Stop and Smell the Roses, opting instead for a more unified rock-oriented focus under Walsh's guidance, resulting in shorter, concise tracks averaging 3 to 4 minutes that prioritize cohesion and replayability over diverse stylistic shifts.[20][6]Track Listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| Side one | |||
| 1. | "In My Car" | Walsh, Starkey, Foster, Goody | 3:13 |
| 2. | "Hopeless" | Walsh, Starkey | 3:17 |
| 3. | "Alibi" | Walsh, Starkey | 4:00 |
| 4. | "Be My Baby" | Walsh | 3:44 |
| 5. | "She's About a Mover" | Sahm | 3:52 |
| Side two | |||
| 6. | "I Keep Forgettin'" (cover of the 1959 Chuck Willis song) | Leiber, Stoller | 4:18 |
| 7. | "Picture Show Life" | Reid, Slate | 4:21 |
| 8. | "As Far as We Can Go" | Ballard | 3:52 |
| 9. | "Everybody's in a Hurry But Me" | Starkey, Walsh, Entwistle, Clapton, Stainton | 2:35 |
| 10. | "Going Down" | Walsh, Starkey | 3:34 |