The first classic album of the new year for today is ‘Ram’ (1971) by Paul McCartney. And once again, my friend, from across the pond, Glenn B Fleming, will be a guest reviewer for today. Thanks again Glenn. ‘Ram’ is the second solo album by former Beatle Paul McCartney, and was on released on Apple Records in May 1971. McCartney recorded the album with his late wife Linda and is the only album credited to the couple. After taking their young family to Linda’s home town of New York City in October 1970, the McCartney’s began the follow up work to ‘McCartney’, the former Beatles first solo album, released in April the previous year to critical acclaim (‘McCartney’ – sometimes referred to as the ‘cherries album’ because of a photograph of a bowl of cherries on the cover - sold more than a million copies in the first month of its release and was only kept off the number one position by Simon & Garfunkel’s magnum opus, ‘Bridge over Troubled Water’). While ‘McCartney’ had featured Paul on every instrument, the ‘Ram’ sessions began with auditions for individual musicians before the actual recording process began; some brought in under the guise of a session to record a commercial jingle! Auditions were held on 45th Street and lasted three days. In the months before the breakup of the Beatles, McCartney had wanted the band to go back on the road, to return their roots and play live. The other members vetoed the idea and refused to tour; around the same time period, McCartney also wanted the album then being recorded, ‘Let It Be’, to be a ‘raw’ album, devoid of the more silky production values. (Phil Spector produced the original release but McCartney would later re-issue ‘Let It Be’ in the form he had originally envisioned). However, with ‘Ram’, as with ‘McCartney’, Paul had total control of the entire process. Linda personally asked David Spinozza (who would later play with John Lennon on his album ‘Mind Games’ and Ringo Starrs 1977 album Ringo the 4th, earning him the distinction of having recorded with three of the four Beatles) to play on the album before the auditions moved to a basement where Denny Seiwell was recruited on drums. (McCartney would later state that he found Seiwell lying on a mattress one day in The Bronx). Seiwell, a much underrated drummer publicly, yet a much sought after player professionally, would (only three months later with the next album) become a full time member of McCartney’s new band ‘Wings’. Because of a previous commitment, Spinozza left the recordings midway through the ‘Ram’ sessions and was replaced by American lead guitarist Hugh McCracken (who, almost a decade later, would play on Lennon’s final album ‘Double Fantasy). Upon its release, ‘Ram’ received many negative reviews by the majority of music critics even though it went on to sell over two millions units worldwide. The album stands the test of time, however, and is now recognized as one of McCartney’s best albums. This writer certainly goes along with that, having bought it at the time of release and listened to and enjoyed it at least ‘a couple of times’ in the past forty odd years! The album topped the national albums charts in Britain, the Netherlands and Canada. Three singles were issued from the record: ‘Uncle Albert/Admiral Halsey’ (after selling one million copies, the song won the Grammy Award for Best Arrangement Accompanying Vocalists in 1971), becoming McCartneys first solo number 1 hit in America. The Back Seat of My Car (John Lennon felt that this song was directed towards him; perceiving the protagonists who sing We believe that we cant be wrong to be himself and his wife Yoko Ono) only released in the UK, peaked at # 39 and ‘Eat at Home’. Although not released in the UK or the US, ‘Eat at Home’ did, however, reach #7 in the Netherlands and #8 in Norway. John Lennon is reported to have ‘liked this song’. The basic tracks for the album were taped at Columbias Studio B, located at 51 West 52nd Street, Manhattan, from 12 October to 20 November 1970 before McCartney’s returned to Scotland for the Christmas holidays. Work continued at New York’s Studio B and A&R Recording Studios, located at 112 West 48th Street, Manhattan, from the second week of January 1971 through to February. Playing guitar or piano and singing at the same time, Paul chose to overdub his bass guitar later on as he had done with many Beatles recordings. This method gave him more time to write melodic and ambitious bass lines, something that McCartney had become well known for in the late 60s, being strongly influenced by Motown artists, in particular James Jamerson and Brian Wilson of the Beach Boys. Although it was a collaborative project, Lindas vocal duties were mostly limited to singing harmonies and backing Paul, who sang almost all of the lead parts; however, Linda sang co-lead vocals on ‘Long Haired Lady’. The New York Philharmonic was brought in by McCartney to play on ‘Uncle Albert/Admiral Halsey’, the track was similar in vein to the Abbey Road medley (again largely composed by McCartney and certainly his idea); the song consisting of several unfinished songs combined into one and to this writer the best track on the album. The track shows McCartney’s beautiful vocals at their very best. Paul and Lindas daughter, Heather (then only eight years old), sang backing vocals on ‘Monkberry Moon Delight’, as McCartney’s shows yet again why he is one of rock’s greatest rollers with a delightful up tempo performance. The ‘Ram’ sessions also produced great McCartney compositions, such as the haunting ‘Dear Friend’ (another of this writers favourite McCartney penned post Beatle songs and by far the best track on the ‘Wild Life’ album), ‘Little Woman Love’, ‘Get on the Right Thing’, Little Lamb Dragonfly’ and ‘Big Barn Bed’ all songs that would appear on later Wings discs. ‘I Lie Around’, issued as the B-side to Wings 1973 single ‘Live and Let Die’, was also recorded during the sessions as was the first incarnation of Linda’s self penned ‘Seaside Woman’. ‘Ram’ was mixed at Sound Recorders in Los Angeles and finished by early 1971. ‘Another Day’ (the first song to be taped at the sessions) and its B-side, ‘Oh Woman, Oh Why’, was released as a single in February 1971; neither of these songs feature on the original final ‘Ram’ running order, thought they both turned up on the later re-mastered and released CD. The song ‘Ram On’, from the albums first side, was reprised on the second side, before the albums final track, the almost jubilant ‘The Back Seat of My Car’. The album’s release coincided with a period of much publicised acrimony between McCartney and Lennon, each one claiming certain words in certain songs had been aimed at the other. While a success with the buying public, John Lennon hated the album, dismissing his former songwriting partners efforts as mere ‘musak’ (as John sings in the song ‘How Do You Sleep?’, a direct swipe at McCartney). Ringo Starr thought his friend Paul was ‘going strange’ and didn’t rate any song on the record. I personally think that much of the derision heaped upon McCartney and his music around this time by his former colleagues was one of anger rather than judgement. That’s just my opinion; the album is one of McCartney’s strongest post Beatle works, to me a ‘lost’ album and one that more people should listen to. There really is some great stuff on there! ‘Ram’: Produced by Paul and Linda McCartney. Released :17 May 1971 Recorded :November 1970–January 1971, February–April 1971 Columbia Recording Studio, New York; A&R Recording Studios, New York; Sound Recording Studios, Los Angeles Running Order: Too Many People: A glorious, echoed Paul McCartney vocal begins the track with his acoustic guitar and is joined by Linda on harmonies. A slick Macca tune has the listener hooked from the start (At least, I was!), even though the track descends into a somewhat organised mess of lead guitar at the finale. 3 Legs: Macca on acoustic guitar and lead vocal with Linda on harmony: McCartney shows an ‘Elvis’ side to his delivery on this track, singing about flies and dogs… yeah, but it’s a good track! Ram On: The title track begins with an off beat piano, almost tuning up. Paul plays his ukulele to full effect, whistling and imitating instruments vocally, as only he can. The harmonies are simply glorious, simply McCartney. Dear Boy: The vocal is almost a repetition of ‘Honey Pie from the Beatles’ ‘White Album’. A piano based track, again the harmonies, with Linda in the mix, are pure McCartney. Uncle Albert/ Admiral Halsey: The best track of the album by far. A slow and hypnotic start, slick guitars, a burst of rain and thunder and a full orchestra blending beautifuly with Macca’s voice. Paul even imitates a telephone ringing in this one, with him answering: “We’re so sorry, but we haven’t done a bloody thing all day…” McCartney at his best. Whimsical, enchanting and easy on the ear. The second part of the track moves into a faster melody and into some really nice guitar playing. Again, the harmonies are magical as the track fades in the next… Smile Away: A typical McCartney countdown starts the last track of ‘side one’. A somewhat throw away ‘rocker’ track, but none the less engaging: “Man I can smell your feet a mile away”! Heart of the Country: A nice, easy track mainly featuring Paul on acoustic guitar and vocal; Paul sings about life in the country, horses and sheep. Another typical McCartney melody, simple, easy going, yet genius. Monkberry Moon Delight: The rocker of the album. Macca screeches into the microphone whilst heavily pounding on his piano. Linda is clearly heard on harmonies and Paul sings the ridiculous words to full effect. This track sticks in your head, well it does mine anyway, and I always play this track at least twice on any one listening to rest of the album! Featuring a rather indulgent, screaming outro with Linda: What can he possibly mean? Eat At Home: Another echoed track, a fast, up beat rocker and just about the only track where Denny Seiwell is heard at the ‘front’ of the songs. McCartney is clearly enjoying this vocal performance. Some great guitar on this one, though I’m not sure who is playing: McCartney, Spinozza or McCracken. Never mind – just enjoy! Long Haired Lady: Clearly written about his wife, showing Linda’s vocal capabilities at the end (as a singer Linda makes a great photographer!). The outro harmony coupled with an array of instruments is another McCartney carcophany of sound. Largely a throw away track, but an easy listen. Ram On (reprise): The title track fades in with Macca whistling and strumming his ukulele before morphing into yet another unfinished track, leaving the listener wanting more. And we get it! The Back Seat of My Car: Classic McCartney, full of hopes and dreams, love and tenderness, vocal harmony and superb guitar. The middle eight harmony is particularly beautiful, with gorgeous strings behind it. “Oh, oh, we believe that we can’t be wrong…”. You weren’t Paul. This is a classic, classic album.
Posted on: Thu, 01 Jan 2015 19:17:13 +0000
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