Released in 1973
Written by Bob Sherman • Dick Sherman
Last updated on March 23, 2022
Album This song officially appears on the Ringo LP.
Timeline This song was officially released in 1973
Officially appears on Ringo
From Wikipedia:
“You’re Sixteen” is a song written by the Sherman Brothers (Robert B. Sherman and Richard M. Sherman). It was first performed by American rockabilly singer Johnny Burnette, whose version peaked at number eight on the US Billboard Hot 100 in December 1960 and number 3 in the UK in 1961. The song was covered by Ringo Starr in 1973 and this version reached number one in the US.
Ringo Starr version
Ringo Starr’s version was released as a single in the United States on December 3, 1973, and in the UK on February 8, 1974. In January 1974, the song, taken from the album Ringo, hit number one on the Billboard Hot 100. The latter performance reunited Ringo Starr with his former Beatles bandmate Paul McCartney. Although McCartney is credited on the liner notes of the album Ringo as having played the solo on a kazoo, reviewer Michael Verity has quoted the song’s producer Richard Perry as revealing that it wasn’t actually a kazoo: “In fact, the solo on ‘You’re Sixteen,’ which sounds like a kazoo or something, was Paul singing very spontaneously as we played that track back, so he’s singing the solo on that.” Starr’s version remains one of the few No. 1 singles to feature a ‘kazoo-sound’ solo. Harry Nilsson sang backing vocals on Starr’s version; Nicky Hopkins is heard playing the piano, including going up and down the scale in the instrumental fade of the song. In Ringo’s version, the melody and the chords were different in the bridge section, which led to a minor key, while the original version used only major keys. The ending featured Starr singing the chorus from Clarence “Frogman” Henry’s hit song “(I Don’t Know Why) But I Do” before breaking into a chorus of “What Shall We Do With the Drunken Sailor?” at the fade.
Cash Box called Ringo’s version “fantastic and perfect for the ’70’s,” going on to say that “not only is the vocal perfect, and steady, for this delightful easy going rocker, but the music is the perfect complement.”
The 1978 video of Starr’s version features Carrie Fisher as Starr’s love interest. […]
Paul was good enough to write a song for Ringo, and we had two or three nights of wonderful recording when he and Linda came down. In fact, the solo on ‘You’re Sixteen,’ which sounds like a kazoo or something, was Paul singing very spontaneously as we played that track back, so he’s singing the solo on that.
Richard Perry – Producer – From Number 1 With A Bullet: Ringo Starr’s “You’re Sixteen” (archive.ph)
Woo
You come on like a dream
Peaches and cream
Lips like strawberry wine
You're sixteen, you're beautiful and you're mine (ooh, mine all mine)
You're all ribbons and curls (ooh)
Ooh, what a girl (ooh)
Eyes that sparkle and shine (ooh)
You're sixteen, you're beautiful and you're mine (ooh)
Mine all mine, mine, mine, mine
You're my baby, you're my pet (ooh wah, wah)
We fell in love on the night we met (ooh wah, wah, wah)
You touched my hand, my heart went pop (ooh)
Ooh, when we kissed I could not stop (ooh)
You walked out of my dreams, and into my arms (ahh)
Now you're my angel divine (ahh)
You're sixteen, you're beautiful and you're mine (ooh wah, wah, wah)
You're my baby, you're my pet (ooh wah, wah, wah)
We fell in love on the night we met (ooh, we fell in love)
You touched my hand, my heart went pop (ooh what a night, ooh what a night)
Ooh, when we kissed I could not stop (ooh-ooh)
You walked out of my dreams, and into my car (ahh)
Now you're my angel divine
You're sixteen, you're beautiful, and you're mine (ooh wah, wah, wah)
You're sixteen, you're beautiful, and you're mine (ooh wah, wah, wah)
You're sixteen, so beautiful, and you're mine (ooh wah, wah, wah)
All mine, all mine, all mine (ooh wah, wah, wah)
All mine, all mine, all mine (ooh wah, wah, wah)
All mine, all mine, all mine (ooh wah, wah, wah)
All mine, all mine, all mine (ooh wah, wah, wah) (I shouldn't love you, but I do)
You are- (ooh wah, wah, wah)
What shall we do with a drunken sailor?
What shall we do with a drunken sailor?
LP • Released in 1973
2:48 • Studio version • A
Paul McCartney : Kazoo Linda Eastman / McCartney : Backing vocals Ringo Starr : Drums, Lead vocal Nicky Hopkins : Piano Vini Poncia : Guitars Klaus Voormann : Bass Jimmy Calvert : Guitars Harry Nilsson : Backing vocals Richard Perry : Producer Bill Schnee : Engineer
LP • Released in 1973
2:48 • Studio version • A
Paul McCartney : Kazoo Linda Eastman / McCartney : Backing vocals Ringo Starr : Drums, Lead vocal Nicky Hopkins : Piano Vini Poncia : Guitars Klaus Voormann : Bass Jimmy Calvert : Guitars Harry Nilsson : Backing vocals Richard Perry : Producer Bill Schnee : Engineer
Recording : March 05-06, 1973 • Studio Sunset Sound Studios, Los Angeles, USA
Session Overdubs: Apr 02, 1973 • Studio Apple Studios, 3 Savile Row, London
Mixing : July 1973 • Studio Sound Labs, Los Angeles, USA
7" Single • Released in 1973
2:48 • Studio version • A
Paul McCartney : Kazoo Linda Eastman / McCartney : Backing vocals Ringo Starr : Drums, Lead vocal Nicky Hopkins : Piano Vini Poncia : Guitars Klaus Voormann : Bass Jimmy Calvert : Guitars Harry Nilsson : Backing vocals Richard Perry : Producer Bill Schnee : Engineer
Paul McCartney has never played this song in concert.
Paul McCartney: Music Is Ideas. The Stories Behind the Songs (Vol. 1) 1970-1989
With 25 albums of pop music, 5 of classical – a total of around 500 songs – released over the course of more than half a century, Paul McCartney's career, on his own and with Wings, boasts an incredible catalogue that's always striving to free itself from the shadow of The Beatles. The stories behind the songs, demos and studio recordings, unreleased tracks, recording dates, musicians, live performances and tours, covers, events: Music Is Ideas Volume 1 traces McCartney's post-Beatles output from 1970 to 1989 in the form of 346 song sheets, filled with details of the recordings and stories behind the sessions. Accompanied by photos, and drawing on interviews and contemporary reviews, this reference book draws the portrait of a musical craftsman who has elevated popular song to an art-form.
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