The Cavern
Rock & Words
RAM (Paul McCartney, 1971)
Artist: Paul McCartney (C)
Recording Dates: Oct ‘70 - Mar‘71
Release Date: May 17, 1971. UK
Record Label: Apple
Producer: Paul & Linda McCartney
Rating: 10 (MUST HAVE)
Era: The Great Transition (1970-1980+)
Subgenre: The Great Transition
Best Song: Too Many People or Monkberry Moon Delight
Tracklist: 1) Too Many People; 2) 3 Legs; 3) Ram On; 4) Dear Boy; 5) Uncle Albert/Admiral Halsey; 6) Smile Away; 7) Heart Of The Country; 8) Monkberry Moon Delight; 9) Eat At Home; 10) Long Haired Lady; 11) Ram On (reprise); 12) The Back Seat Of My Car.
OMG, the Ram? But Corvan, it wasn't planned for this year!!! Well… Surprise! True, it wasn't in the budget, but I started working on another album (you know which one) and realized it did n't make sense if it didn't follow a certain chronological order. Besides, it had been requested quite a lot.
So here we are, in 1971, with the world changing, under the sway of bands like the Stones, Led Zeppelin , and The Who, while the void left by the Beatles was being filled by the first solo efforts, which were fiercely competitive. The world still watched with a certain amount of pain as Paul and John sacked each other in interviews and letters to newspapers, further diminishing the possibility of a reunion. That's why I understand why the critics completely panned Ram, Paul's second solo album. It took me quite a while to appreciate it myself. But after all, if there were two people to blame for the Beatles' breakup, at least in the eyes of the fans, it was Paul and Yoko, and Paul was the first to start the musical war with John, which was almost unforgivable at the time. Paul had entire eras to redeem himself and win back people's hearts, including mine. Yoko hasn't managed it yet, but that's another story. The thing is, this album has grown over the years, and the scathing reviews it received at the time have improved considerably, to the point where it's the little gem that it is.
It's curious that when people think of Ram, it's generally associated with the album where Paul began attacking John, and to a lesser extent George and Ringo, through his songs. Up until then, their debut albums had remained free of such feuds. And I say it's curious because this fact diminished Ram's high melodic quality for many years, while Imagine was forgiven for John's fierce response, and tacitly George's as well. It's a shame that both albums are tainted by resentment, but both are tremendously moving, emotional, and that anger is channeled by Paul and John to create exceptional pieces, just as years later they would dedicate songs of regret and forgiveness.
Aware of the critical drubbing he'd received for the poor production of his debut album, Paul decided to invest a little more in it. Just a little; it still didn't reach the level of perfectionism he would achieve with Wings, but at least it wasn't recorded in a bathroom. In October 1970, he flew to New York with Linda to begin recording his second studio album. There, he recruited Dave Spinozza and Hugh McCracken on guitar and Denny Seiwell on drums, after realizing that doing what Ringo did wasn't as easy as it seemed. Paul himself played guitar, bass, and other instruments, taking on production duties and co-crediting Linda, which led to legal trouble with Northern Songs executives , who sued, claiming the credits were for the sake of increasing royalties. Which was true. The truth is, Paul hoped to have a musical ally like John had in Yoko, but Linda could barely play a few simple keyboard patterns and sing some vocal harmonies. In the end, in a trial a year later, Linda was apparently able to prove that she had some musical talent for composing, and they ended up in an out-of-court settlement.
The makeshift band recorded the first takes until the McCartney family returned to their farmhouse in Mull of Kentyre to spend Christmas 1970. Upon their return, Paul was brimming with ideas. He enlisted the New York Philharmonic and recorded " Uncle Albert/Admiral Halsey," "Long Haired Lady," and "The Back Seat of My Car," as well as " Another Day," which wasn't included on the album but was released as a single . Around this time, Paul recorded a slew of demos that didn't make it onto Ram, but which he would later reuse for singles , B-sides, or albums with Wings, or which simply never saw the light of day. It's believed that these sessions yielded over 30 songs, of which only 12 (11 if we count one reprise) would ultimately appear on Ram.
The idea for the title came to him one day while driving to Liverpool. Ram was a powerful, dynamic image, one that could knock down a door with a single charge. And that's how that iconic cover came about, the one Lennon would later parody by holding a pig on the back cover of Imagine. The album is light. Even the parts where he attacks are subtle, without going for the jugular, as John would with "How Do You Sleep? " In fact, the attacks are so subtle they're barely perceptible. Even "Dear Boy ," which, in Paul's words, was dedicated to Linda's ex, was interpreted as a slap in the face to John, not only by the press but by Lennon himself. Paul would downplay it . the attacks : "I remember there was one little reference to John in the whole thing. He'd been doing a lot of preaching, and it got up my nose a little bit. I wrote 'Too many people preaching practices' I think is the line. I mean, that was a little dig at John and Yoko. There wasn't anything else on it that was about them. Oh, there was 'Yoko took your lucky break and broke it in two.' He would end up removing Yoko's name, but ultimately the damage was done. Years later, John would also downplay the anger of his response, saying it was a game between him and Paul.
The album itself is cheerful, very melodic, with Paul singing about country life and family, full of captivating melodies, catchy hooks everywhere, and that magic that only he possesses. At times it's very simple, barely more produced than McCartney, but on the next listen it can sound bombastic and majestic, with Paul approaching, or attempting to approach, the psychedelic sounds of '67 or '69 with his former band . I think musically it's the one that best describes Paul; it's McCartney, his purest expression, even without the grandeur of Wings, with whom he would also achieve remarkable work. But here it's simply him, accompanied by a couple of musicians, simple and minimalist at times, complex and multi-part at others, but always with the melody as the main focus. This is the most natural Paul we can get, without it sounding like he's recording a demo in the mountains of Rishikesh. Without diminishing his debut album, I think it achieves greater balance and is the most McCartney-esque thing we'll ever hear from him. The fact that I find it better than the debut has nothing to do with the production, but rather with the superb craftsmanship of the songs. Paul is one of the greatest songwriters in the history of rock, and here he was at a creative peak. The production isn't perfect either, but there's no more of the ugly filler, and instead we have at least three or four tracks that would become classics. Most of the songs have enough power that, had they received the same treatment as the rest of the album, they could have fit perfectly on *The Greatest Hits*, *The White Album *, or *Yellow Submarine*, or " Too Many People" among the rockers of *Let It Be*. Even " Uncle Albert/Admiral Halsey" could have sounded better than " Maxwell's " on Abbey Road... and that's saying something.
The album kicks off with “Too Many People”. I have to say, I’ve adored this song ever since I first heard it on one of those Saturday radio shows dedicated entirely to the Beatles and their solo work. It’s a melody that’s a playground , with Paul putting on an incredible vocal display, alternating his sweetest voice with his most furious war cry, hook after hook. Everything works perfectly in this four-minute outburst from Paul. It begins with that high-pitched, almost unintelligible, staccato scream. “ Piss off, cake,” he says, playing on the sounds of “Piece of Cake” that he sings in the chorus. Then comes the soft, warm strumming that opens it, the martial drum rolls, the deep, tremolo riff, until the 0:25 mark when we go straight to the chorus, which has a kind of inverse function to the verse. The choruses are a gem, a stadium anthem long before they even dared to attempt a return to the stage, catchy and powerful at the same time, playing with Linda's backing vocals. It's impossible not to at least sing the title. In the verses, Paul uses an almost angelic voice, like a child who wouldn't hurt a fly, to deliver a direct: “ That was your first mistake , you took your lucky break and broke "It in two …". The drums are very playful, and it seems Denny Seiwell was instructed to sound as Ringu-esque as possible. Spinozza also does a great job on guitar, without much pyrotechnics, but with a 5-note riff that then jumps an octave and is impossible to get out of your head. The song builds tension; at the 2-minute mark, we have a good solo, carefree yet elegant. They start to unleash themselves in the chorus with cymbal crashes and Paul sounding more furious. Power Chords , more distortion, and at the 3-minute mark, we have another solo, more impetuous, which spirals out of control until it creates a beautiful chaos and explodes into an acoustic arrangement with a time signature change. It's rare to hear Paul so out of control, but it's a delight when he does things like this, letting loose a little, or letting his musicians do it. Musically, it's a gem. Lyrically, too… unfortunately, it's true. Despite Paul's attempts to downplay it, it's a relentless attack on John. But curiously, he employs very Lennon-esque techniques . That opening wordplay is something we might expect from John, not Paul, and he pulls it off perfectly. But the barbs he throws are undeniable: “ Too many people going underground ” in reference to John and Yoko’s experimental albums, “ Too many people paying "parking fines" due to a crane incident that took John's Rolls Royce, " Too many hungry people losing “weight ,” referring to Lennon’s extreme thinness due to heroin. But the lines that were more direct and apparently stung their target the most were “ Too many people preaching practices , don't let 'em tell you what you "Wanna Be" is a masterpiece, simple yet majestic, a masterclass in melody and hooks. Even after learning its true meaning, I still consider it one of Paul's best tracks, to the point that I would undoubtedly include it in my top ten McCartney songs. On the other hand, this is the most aggressive thing we'll ever see from Paul. Is it really that bad? Was he lying? No, unfortunately not.
“3 Legs” is considerably more modest, a track that combines a tribute to Delta Blues with those sugary, catchy melodies. If George did “For You Blues” and John “ Yer Blues,” why couldn’t Paul do something like that? He tries to sound like the old bluesmen , even imitating the accent and sounding somewhat lo-fi at the beginning. Then echo is added, and it sounds more melodic in the chorus, which says, “A dog es Here , a dog es There , my dog he got three "Legs , but he can't run," which Harrison would take as a mockery of the three Beatles who disagreed with their father-in-law protecting his fortune from Allen Klein's clutches. In the second verse, he also throws a barb. quite The lyrics , "When I thought you was my friend, But you let me down, ho, Put my heart around the bend," are a simple but well-crafted song, in my opinion, with excellent guitar work. Not only had his former bandmates done something similar, but the Stones were in a bluesy phase at the time, and everyone was praising them. It doesn't sound like a copy of anyone, nor like generic blues; it has its own unique touch. While not a masterpiece, I find it quite interesting, and it again employs a more Lennon-esque lyricism , using wordplay to somewhat disguise the underlying intention.
Rachmaninoff -esque piano scales, which then fade into a modest ukulele piece. That's all: a drum, some handclaps, an electric piano, and Linda's backing vocals. A minimalist track, with barely two lines, yet overwhelmingly beautiful. It's incredible how Paul manages to make something so simple so dynamic and captivating, using almost basic elements like whistling to hook the listener. It's not a masterpiece, but I think it's often undervalued.
We continue with “Dear Boy”, a song he wrote during the Christmas holidays at Mull of Kentyre . It’s true, it’s a bit sugary. Well, it could induce a diabetic coma. But once again, Paul puts on a great melodic display, and this time he uses overdubs with Linda and her band to create heavenly harmonies, resulting in a remarkable and complex blend. Piano, guitar, and a drumbeat are the only instruments. The lyrics speak of how lucky he was to have Linda, dedicating it to her ex-husband, Joseph Melville, who never appreciated what he had: “I guess you'll never knew , dear boy , what you have " Found ." Lennon put on a suit that wasn't designed for him, and I'd say this song was also an attack. It's certainly a simple song, and perhaps far from classic status, but it's remarkably beautiful.
Then comes “Uncle Albert/Admiral Halsey”, another gem in his discography, which would give him his first number one hit in the USA as a solo artist. The song is pure Beatlesque , in the style of the Abbey Road medleys , combining various fragments of songs that individually don't shine as brightly, but together gain great power. It begins with the “ Uncle Albert” section, a beautiful, lethargic, dreamlike ballad, full of effects like rain, lightning, and rustling sounds ( crickets? ). The melody is sweet, like a lullaby, while Paul apologizes: “ We're so sorry , Uncle Albert, we're so sorry. ” if we caused you any pain .” The effects are very fitting, when he mentions “I believe I'm " Gonna Rain" begins with a gentle rain and lightning effects. Then he uses strange phrasing while sounding distant, as if he were calling his uncle, " We're so sorry , Uncle Albert, but we haven't done a bloody thing all " day ." It's supposedly inspired by her uncle and is a kind of apology from her generation to those who served in World War II for not having done much with their lives. At 2:10, the orchestrated transition to "Admiral Halsey" begins, starting with a trumpet very much in the style of "Penny Lane," birdsong, and Linda's excellent harmonies singing the chorus, which is impossible not to sing along to. " Haaaaands across the water , heaaaaaaaaaaads across the sky .” The acoustic guitar is simple but with effective arrangements, especially in those ascending scales. Paul sings with his most pronounced English accent, with effects and paraphernalia that vaguely recall “Yellow Submarine.” One more chorus and we enter the gypsy section at 3:25, faster, sung by Linda in falsetto : “Live a little , be a gypsy , get around , Get your feet up off the ground , Live a little , get " around ," followed by a short English horn solo to return to the figure of "Admiral Halsey," and at 4:20 we move on to the coda again at a faster pace, with a very melodic "Uhmmm" that fades into the screeching of two guitars. Admiral Halsey was a World War II hero. In the song, he appears calling on Paul to rise from his lethargy and take action, but Paul prefers "a cup of tea and butter pie." He is, therefore, a character like "Mean Mr. Mustard," but conspiracy theorists claim that the World War II Admiral Halsey said after receiving the Japanese surrender: "After the war, the Japanese language should only be spoken in hell." And well, now we know where John's wife came from... Anyway, the song is enchanting, with fragments that on their own don't amount to much, but together, create a magnificent suite. Not only would it give him his first #1 in the USA, but Paul would also win a Grammy for the song's formidable arrangement. He hardly ever plays it. live, but it is one of the most recognizable and beloved songs in their enormous repertoire.
Next up is “Smile Away”, a really fun little rock and roll number . Paul sings or recites the verses in his “Lady Madonna” voice, while the choruses are delivered with his screamed vocals. The lyrics don't make much sense; it's really just Paul clowning around with a dynamic rocker and excellent harmonies. These, by the way, vaguely recall those of “ Revolution ,” as does the guitar fuzz . The lyrics are pretty silly : “I met a friend of mine and he did say: man, I can smell your feet a mile away.” However, they have a contagious energy, building to a slow crescendo, with a great solo at 2:55, after which the band goes wild and throws a real party. Yes, it's very simple, but who else but Macca can work this kind of magic with such simplicity?
“Heart of the Country” is a beautiful acoustic track, very country, vaguely reminiscent of the mood of “Rocky Raccoon .” There's nothing to criticize about the melody. Paul sings with his boyish voice, hums, duets with the guitar and bass, and narrates how country life, with its tall grasses, horses, sheep, and simple people, has captivated him and he's going to leave everything behind to go live there. A tribute to Mull of Kentyre , I suppose, but one that also hints at the weariness he felt after the breakup with the Beatles and his desire to find peace far from it all.
Then we have “Monkberry Moon Delight”, which is exactly that, a little mindless nocturnal delight. The track has a psychedelic feel, with a prominent piano taking the lead and guitars adding some drama. Paul sings in his signature shouted voice, more affected and theatrical than usual. Linda and her daughter Heather provide backing vocals, and the guitarists add a third layer, answering some lines. The lyrics have no too much meaning : “So I sat in the attic, a piano up my nose, And the wind played a dreadful cantata.” From there , add lines scattered that they seemed attempt To compete with “I’m The Walrus”: “Ketchup, soup and puree, don’t get left behind.” The quirky title comes from a milkshake Linda invented for her kids at dinnertime. It’s as simple and complex as you could want. The melody is to die for, addictive, and even today it gets entire stadiums rocking with the chorus. The harmonies are impeccable. It’s fun, quirky, addictive, ending with Paul going wild, and I already mentioned that I love it when he does that. Another one of my great McCartney weaknesses for as long as I can remember.
"Eat At Home" is a tribute to Buddy Holly, and I suppose, inspired by Heather, Paul's stepdaughter, although there were those sickos who said it was about sex. It's a very simple rock and roll song , with barely a couple of lines. It has good guitar work, one guitar plucking, another playing licks and riffs. It's quite harmless, and Paul and Linda manage to keep it from sounding tiresome despite being repetitive. In fact, the only good thing John del Ram ever said about this song was admitting that he liked it.
Next up is “Long Haired Lady”, a love ballad with a rustic, country feel. It might be a bit jarring at first , but at least for me, it grew on me immensely with repeated listens. It's another masterclass in catchy hooks, starting with that explosive “Well, well , well , well , well ” that Linda responds to with a verse. This is the only track where Linda has a kind of vocal co-lead instead of simply singing backing vocals, though she does have a few lines. Paul makes frequent changes, giving the whole piece a sense of unity without it feeling like it's in multiple parts . I love that bridge at :45: “ Who's the lady that makes that brief occasional "Laughter ?", with crystalline guitars. The choruses are slow, with guitars full of tremolo, while the song title is recited, with a bit of orchestration in the background. At 2:20 we have another instrumental bridge with a good guitar arrangement, while Linda begins that hint of a coda, "Ah, love." es long , love es long , love es " long ," before returning to the verses again and beginning the coda properly at the 4-minute mark. The next 2 minutes are a wonderful crescendo with that hypnotic mantra. It vaguely reminds me of Yes's " Starship Trooper," with just 3 notes, but creating a magical, increasingly majestic sequence that completely redefines the first part of the piece, closing with a full orchestra.
What follows is a reprise of “Ram On” (Ramón, my wife calls him), picking up the ukulele again and those heavenly melodies for less than a minute, barely a turn, to end with a different arrangement on the ukulele and another melody, which sounds somewhat improvised and suddenly fades away, but in which you can make out a vestige of what will be “Big Barn Bed ” from Red Rose Speedway .
The album closes with “Back Seat Of My Car”, another beautiful ballad, with a dreamy, Beach Boys- esque melody and harmonies . In fact, it was an attempt at a tribute to the Californians. This song originated during the Get Back/Let It Be sessions, but the others rejected it. It didn't yet have the superb coda and they considered it a bit too saccharine. Paul elevated it immensely with that magnificent “Oh-oh, we believe that we "Can't be wrong ," which sounds spectacular and glorious, elevating the song immensely. John would take that line the wrong way, as usual, as an attack on him and Yoko. The only problem is that the last half minute is unnecessary, in which he goes completely off the rails this time . Thus , a huge closing of a great album.
In short, Ram is an album that took a long time to truly be appreciated. It's a pop masterpiece, showcasing Paul at his most transparent, honest, and sincere. At times silly, at times happy, at times foolishly in love, and at others, yes, angry. He manages to alternate between almost minimalist moments and explosive rock or orchestral flourishes. It's one of his best albums in terms of melodies and hooks. And Linda does her part, harmonizing and singing backing vocals. Let's face it, she didn't have Yoko's creative spark, but she had a much better voice, and here Paul teaches her how to use it brilliantly, contributing to the album's catchy, mellow vibe.
seems to have been made without much effort. At the time, it would have been rejected, but fortunately we can now listen to it with fresh ears and enjoy it. And on the other hand, if we think about it, thanks to Ram, Imagine ended up being what it was, or at least the back cover and a couple of songs…
For me, it's a must-have and the album to start exploring McCartney's solo career with, because there's no other that sounds so... so Paul!
By Corvan
Dec/18/2015
