Home recordings - "Ram" demos

May-August 1970 • For Paul McCartney
Studio:
High Park Farm, Kintyre, Scotland

Master release


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About

Circa 2011, according to a source, a cassette tape containing 29 demos was re-discovered in High Park Farm, Paul McCartney’s farm in Scotland. Those demos are believed to have been recorded between May and August 1970, when Paul, Linda and their two daughters retreated in Scotland to escape London.

These demos contain songs that would be recorded for the “RAM” album, as well as “Wild Life”.

From Steve Hoffman Music Forums, February 7, 2012:

Recorded in Scotland and in London for a period of 4 months ( May to August ), here is the listing of the 29 songs put on tape just before going to New York ). But sorry, no other infos, and never heard any of them. Just have the listing thanks to a good friend of mine, with handwriting notes by an unknown listener, could be Eddy Pumer. Enjoy. I hope we will hear these one day.


Can you remember an average day of your life. I believe you spent a lot of time in Scotland.

Yeah, at the beginning of the album, when I was writing it, I spent a lot of time in Scotland, and the average day there would be: get up, have breakfast with the family, then maybe go into my little studio. I always had a little four track studio, which is what The Beatles always used to record on. That’s a real discipline recording on a four track, you’ve either gotta know exactly what you’re doing or you have got to start bouncing tracks. You can imagine, when you get into that, it’s addictive.

On a average day, I could have done that. I could have gone for a horse ride, as Linda was a big horse rider. At some point in the day we would have gone for a horse ride. I might have played with the kids, and they liked to go on horse rides too. Then in the evening, I’d drink whisky, of which there was a large supply in Scotland.

I do remember watching an interview where you said you maybe drank a little bit too much Whisky…

Yeah… no I did, yeah. That was kind of a feature of that time, because what happened was The Beatles, towards the end, was very constricting. You were in a corporate world suddenly, and I’m sure you know all about that. It’s not what you get into music for, but it’s there, it’s a fact of life, especially when you were the label. We were doing Apple, The Beatles ‘Apple’, and it got very heavy, so me and Linda escaped with the kids, but the business hassles were still there. So I think I was just trying to escape in my own mind. I had the freedom to have just have a drink whenever I fancied it. I’d go into the studio, maybe have another drink and so on. I over did it, basically, I got to a point where Linda had to say ‘look, you should cool it’.

Did you find at that time that you had a structured way of working? When you did McCartney I through to RAM, was that from a backlog of a big wealth of material or did you stop and have a writer’s block and then write a bunch of new material?

Some of it I had from just sitting around my house with my acoustic. Most of them, I would just sit down and write. Having written with John for all those years, we had a kind of system, which was: you just sat with a pad of paper and a pencil, and you sat at your guitar or your piano, and you make a song, and within about three hours, you should have finished the song. That’s how we always did it. So I continued to do it that way.

I remember with some songs, I would go out into the fields if it was a nice day with my guitar, so those would probably be like ‘Heart of the Country’ and the more pastoral efforts. It was mainly just what I’ve always done. Then, if I would have a writer’s block, I look back now and can say that was the over stimulation. I’d be getting like ‘heeyyyy, nice and fuzzy’ and it’s not a good thing to write. Least for me it’s not. Me and John were always very straight when we wrote, and it was normally in the middle of the day when you had your wits about you.

Looking back on it, the writer’s block that I would have occasionally, would just be getting hung up on a phrase. You know, ‘sweet little long-haired lady’, ‘fine little long-haired baby’, and you’d just go on for hours on this one phrase. What I’d do now – and I was just saying this up in Liverpool to some of my ‘songwriter students’ – is that if you ever get a block, just steamroll through it and fix it later.

Paul McCartney – Interview with Drowned In Sound, 2012

Last updated on January 8, 2022

Songs recorded


1.

Heart Of The Country

Written by Paul McCartney, Linda McCartney

Recording • "great voice and feel"


2.

Too Many People

Written by Paul McCartney

Recording • "embryonic version"


3.

4th Of July

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Why Am I Crying" with comment "embryonic"


4.

The Back Seat Of My Car

Written by Paul McCartney

Recording • "wonderful"


5.

Another Day

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Just Another Day" with comment "great"


6.

Uncle Albert/Admiral Halsey

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Gypsy Get Around" with comment "on ukulele"


7.

Ram On

Written by Paul McCartney

Recording • "on ukulele"


8.

Sunshine Sometime

Written by Paul McCartney

Recording • "cool"


9.

When The Wind Is Blowing

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Rupert Guitar Song Instrumental" with comment "with whistling"


10.

Little Lamb Dragonfly

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Rupert Little Lamb Dragonfly" with comment "magical"


11.

Smile Away

Written by Paul McCartney

Recording • "at the end Paul talks to Linda about having Jimi Hendrix and a jazz drummer for forming a trio to records this song soon"


12.

Love Is Long

Recording • "with Linda and unknown verses"


13.

Eat at Home

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Eat At Home/Buddy's Breakfast/Indeed I Do", with comment "medley with Linda, loose"


14.

Monkberry Moon Delight

Written by Paul McCartney, Linda McCartney

Recording • Under the name "Monkberry Moon Delight/Frenzy" with comment "medley, wonderful and crazy"


15.

Get On The Right Thing

Written by Paul McCartney, Linda McCartney

Recording • "another chat between Paul and Linda at the end about Jimi's possible involvement, great take"



17.

Country Dreamer

Written by Paul McCartney, Linda McCartney

Recording • "with insects noise"


18.

Long Haired Lady

Written by Paul McCartney, Linda McCartney

Recording • "with Linda"


19.

I Lie Around

Written by Paul McCartney, Linda McCartney

Recording • "country feel"


20.

3 Legs

Written by Paul McCartney

Recording • "drunk version, totally out of tune"


21.

We're So Sorry

Recording • a.k.a Uncle Albert/Admiral Halsey - "drunk too"


22.

A Love For You

Written by Paul McCartney

Recording • "bluesy slow version"


23.

She Can't Be Found

Recording • a.k.a Hey Diddle - "country tune"


24.

Some People Never Know

Written by Paul McCartney, Linda McCartney

Recording • "great home version"


25.

Hands Across The Water

Recording • a.k.a. Uncle Albert/Admiral Halsey - "fun but too long"


26.

Tomorrow

Written by Paul McCartney, Linda McCartney

Recording • "with a fun quote about yesterday at the end, Paul said he wrote this as a game"


27.

Big Barn Bed

Written by Paul McCartney, Linda McCartney

Recording • "embryonic version on guitar"


28.

Great Day

Written by Paul McCartney

Recording • "with the kids around"


29.

I Am Your Singer

Written by Paul McCartney, Linda McCartney

Recording • "with Linda"

Going further


Eight Arms to Hold You: The Solo Beatles Compendium

We owe a lot to Chip Madinger and Mark Easter for the creation of those session pages, but you really have to buy this book to get all the details!

Eight Arms To Hold You: The Solo Beatles Compendium is the ultimate look at the careers of John Lennon, Paul McCartney, George Harrison and Ringo Starr beyond the Beatles. Every aspect of their professional careers as solo artists is explored, from recording sessions, record releases and tours, to television, film and music videos, including everything in between. From their early film soundtrack work to the officially released retrospectives, all solo efforts by the four men are exhaustively examined.

As the paperback version is out of print, you can buy a PDF version on the authors' website

Shop on Amazon


Maccazine - Volume 40, Issue 3 - RAM Part 1 - Timeline

This very special RAM special is the first in a series. This is a Timeline for 1970 – 1971 when McCartney started writing and planning RAM in the summer of 1970 and ending with the release of the first Wings album WILD LIFE in December 1971. [...] One thing I noted when exploring the material inside the deluxe RAM remaster is that the book contains many mistakes. A couple of dates are completely inaccurate and the story is far from complete. For this reason, I started to compile a Timeline for the 1970/1971 period filling the gaps and correcting the mistakes. The result is this Maccazine special. As the Timeline was way too long for one special, we decided to do a double issue (issue 3, 2012 and issue 1, 2013).


http://forums.stevehoffman.tv/threads/1970-ram-demos-listing.276196/


http://webpages.charter.net/ram71/1970.htm

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