McCartnet

Paul McCartney's NEW album review. Paul McCartney: NEW (2013)

2013-11-03T01:04:00.000+00:00

The excellent 'new' album
from Paul McCartney

Release date: October 2013

Artwork: The cover was inspired by the work of Dan Flavin, the renowned American minimalist artist who liked to create his work using commercially available fluorescent light fixtures. It creates a classy cover which I like, rather than love.

General Comments: In my opinion, McCartney has wasted much of the last five years, certainly since the release of the excellent Electric Arguments album, under the moniker of The Fireman.

During this period, he spent his time enjoying himself performing his increasingly predictable live show to the detriment of his musical creativity and his critical reputation, but to the benefit of his bank balance. This culminated in his annus horribilis of 2012 when his declining and increasingly weak live voice was exposed during his sub-standard performances at the Jubilee and the Olympics. To make things worse, there was also, justifiably, a sense of 'Macca fatigue' caused by him closing so many events of this type over recent years - despite him possibly being the only natural choice to close them. He is in a 'no win' situation when he is approached to perform at these events - he would be criticised by many if he refused, and certainly is, when he accepts. However sometimes 'less is more' and I hope that 'less' will be his strategy for the future. He does not need to do them and can only lose credit by doing so.

2012 also saw Paul's unnecessary and rather dull covers' album of old standards, the somewhat naffly titled: 'Kisses on the Bottom'. This would have been better off as an EP - if he really had to get it out of his system (an EP!?! - 'Google it' kids and reminisce old gits!).

However, as 2012 finally came to an end - a year which many McCartney fans will wish to forget - there was a glimmer of light with the hard-rocking and surprisingly good collaboration with the surviving members of Nirvana. This brought hope that all the hard-work and credit that had been stored after a run of mainly excellent work between '97-'08 (particularly Flaming Pie, Chaos and Creation in the Backyard, Electric Arguments, most of Driving Rain and some of Memory Almost Full) coupled with some great live performances, were not totally destroyed in the eyes of a fickle and critical public, and with the hypercritical and uneducated media.

Therefore, the question I now ask and one which is on only a few peoples' lips, is: 'Does anyone really care about what Paul McCartney does anymore? To be truthful, other than his hardcore fans, most only care about his life until 1970 and consider him a musical irrelevance in 2013. This is a rather sad view as his musical output is still far beyond the quality of most other veteran rock stars and many younger ones.

In my opinion, Paul McCartney still has so much to offer: both musically and creatively. It is a shame many choose to cover their ears and are only influenced by the myths which remain about the so called lesser quality of his solo career. Dig a little deeper and beyond some of the singles and fluff and there you will find a treasure trove: full of many gems of songs of equal - and some of even higher quality - to his Beatles' work.

Back to the album, NEW has no right to work as complete piece of work, but somehow it does. As most people know, it is an album which includes a variety of musical styles and has been put together using four different producers: Mark Ronson, Paul Epworth, Giles Martin and Ethan Johns.

In many ways, it works in the same way which RAM works - perhaps his best ever solo work - inasmuch as both albums create a warm feel and vibe which transcend the individual tracks. Due to this, and to the quality of the songs, it is an album with no major weak points which is a rarity with most artists.

NEW deserves to be discovered and appreciated by more people than have actually purchased it. However, despite the quality threshold being very high throughout, the best on NEW possibly does not reach the highs on some of his other recent albums - but there are no lows, and NEW ends up being one of the best and most consistent albums of his career.

This review is based on the deluxe version of the album.

Track by Track:

1. Save Us
A vibrant opening track driven by an enjoyable rocking guitar riff accompanied by some quick fire, almost rapped vocals. It makes a good choice as an opening track, but is one of my least favourites on the album. The chorus just does not appeal to my taste. However, it is short, fresh and works. 6.5/10

2. Alligator
In my opinion this is the best song on the album, with crazy lyrics, interesting passages and a psychedelic theme throughout. It has a simple feel, but with a hidden darker edge and full of intrigue. Great production by Mark Ronson who fills it with inventive sounds. I like the 'Everybody else is busy doing better than me lyric'. A very high quality song. 9/10

3. On My Way to Work
Although I don't like the 'big green bus' line, I really like the words and wordplay used in this song. You actually listen to the story of Paul remembering his teenage years. A very nice melody - possibly a little slow, but that would be nitpicking - but the backing music really picks up during the last minute and the song is all the better for it. 8/10

4. Queenie Eye
Catchy and certainly a very accessible track. The lyrics - many of which are based on a children's playground game - are good, and Paul sings great too. It has a bit of a 60s feel about it with nice changes of tempo and the simple playfulness of the song works very well within its theme. Oasis would have been proud of writing this. A good song, although it does not have as much staying power as I originally expected. 7.5/10

5. Early Days
A nice folky feel to this acoustic song and it is certainly a central point to the album. I particularly like these lyrics: 'May sweet memories of friends from the past, always comes to you, when you look for them. And your inspiration, long may it last, may it come to you time and time again'. There has been much talk about the quality of the vocal on this track, I think that due to the looking back nature of the subject matter, it does give it more emotional punch and I think the vocals are appropriate and work - especially towards the latter verses. A really good and personal song. 8/10

6. New
The lead single, but one which does not really resonate with me. The vocals are a little weak and thin, but it is undeniably catchy, and the wall of sound can't fail to at least raise a smile.

'New' works much better as part of the album than it did on its own, it lifts the mood and brings vibrancy back to the album after the tone and feel of Early Days. It has a very Beatles' vibe to it, almost verging on pastiche, but McCartney just about pulls it off, and it is perfectly enjoyable. 7/10

7. Appreciate
A very trippy and modern hip-hop sounding drum beat starts this dark, edgy and industrial sounding track. It is vibrant, and although not groundbreaking, it is inventive and one to slightly shock the public and the casual McCartney fan. This is amongst the best on the album and is great played loud - a song that gets into you soul. The last minute or so reminds me of 'Bullet the Blue Sky' by U2. Excellent. 8.5/10

8. Everybody Out There
This must have been a contender for a single. It is really catchy and has a good feel, mainly due to the folky guitar chords driving the song along. Despite a little too many 'Heys' and 'Ooohs' - possibly trying too hard to create a sing-a-long anthem - the simple lyrics actually have an effective message and work well. A great little song and a good vocal, although not so keen on the shouty bits at the end. 8/10

9. Hosanna
A little disappointing, but only because it had rave reviews prior to release. Once you give it a chance, it is a very good and atmospheric track which works really as part of the album. It is an acoustic and slightly haunting song with a little bit of a psychedelic feel, but no real surprises. 7/10

10. I Can Bet
A pot-bolier of a track which really romps through its 3 minutes' duration. It is full of playful lyrics and has an excellent vocal. 'I Can Bet' is a fun, disposable and catchy song which would be very enjoyable played live. Comes supplied with a great Moog solo. Possibly one which doesn't hold long-term interest though (the song, not the Moog solo!), but a joy. 7/10

11. Looking At Her
I did not like this at all during my first two or three listens, I thought the vocals were weak and the verses a little lightweight in nature, but it really grows on you - and I think will continue to grow. 'Looking at Her' now keeps my interest and appeals to me, especially its three different changes of pace and style and this will help it to be enjoyed even more over subsequent plays. I love the 'losing my mind' part and the unexpected industrial noise during this section. A very decent track. 7.5/10

12. Road
The last 'officially' listed track on the standard CD. 'Road' could have easily been on The Fireman's 'Electric Arguments' album, as it is very much in that style. It does beg the question if the Fireman Paul and the normal Paul have now overlapped so much, will the Fireman never appear again, or will he return with new fire and ideas? Despite this little side consideration, 'Road' is one of the best tracks on the album. It has a dark, cool, relaxed and spooky feel about it and builds to a crescendo. Listeners not particularly familiar with Paul's solo work will be surprised with this track. It sounds a little like a mixture of Radiohead, Massive Atttack and Portishead. Play it late at night and let the ambient textures take you over. 8/10

13. Turned Out
Bonus track: This sounds like a long lost contribution to a Travelling Willbries album which Paul was waiting to offer, if he had ever been asked to join! Therefore, it is an enjoyable track, rather than a stand out one which retains the interest on multiple listens. However, it is a very upbeat and instantly catchy including a delightful middle-eight which has some of the most heartfelt and best vocals on the album. 7.5/10

14. Get Me Out of Here
Bonus track: This could have been released between '71-'74 as a Wings' b-side. It is a pleasant country-style song with character and charm. 6.5/10

15. Scared
A piano ballad...finally. Just as you thought a McCartney album was not going to have one, up pops 'Scared' - the hidden track. I've never really seen the point of a hidden track, unless the artist was not convinced by its quality to call it a proper album track. No worries here though, Scared is a beautiful and sparse ballad that is really heartfelt and has a nice melody. There is a real and valid argument that it should have been given the full works with orchestration, making it into an epic ballad. In fact, I'd really still like to hear Scared given this treatment. However, it is just as valid in this stripped and bare interpretation, perhaps making it more real and affecting. 7.5/10

In conclusion it is a very satisfying album which brings relief to those who thought Paul had dried up creatively. Its strength is in its consistency and also being full of interesting and varied songs. It does lack the warmth and personal touch of some latter day McCartney albums like Flaming Pie and Chaos and Creation in the Backyard, but that is a very minor criticism of a fine album. The test will be in a few years, when we will find out if it is still being played and if some tracks end up sounding dated. Time will reveal all.

We should be happy that at this stage of his career we are still seeing such quality.

Overall score: 113.5/150

Overall score indexed: 75.6%

Advice: BUY, GIVE IT 5 LISTENS AND YOU'LL BE ADDICTED

Interested. Listen to the sampler below.

'Out of Sight' Video Paul McCartney, Youth and The Bloody Beetroots

2013-07-09T22:31:00.002+01:00

This is pretty cool. Enjoy.

A new Paul vocal and mix of his 2007 song Nothing Too Much Just Out of Sight.

Paul McCartney: the best voice in rock and pop: Part 10 Too Many People

2012-09-20T21:02:00.000+01:00

No. 10 Too Many People from Tug of War from Ram (1971)

An angry rock song that was partially directed at John. The vocal has three styles first the 'Too many people...' part, then the 'that was your first mistake...' and the the 'what can be done for you' voice. All great. In fact just buy the Ram album and you will see how great Paul's voice can be.

Other songs that on another day could have made this top ten (many are elsewhere on this blog so wanted to give others some coverage) are: Maybe I'm Amazed, Dear Friend, The Lovers that Never Were, I'm Carrying, Back Seat Of My Car, Dear Boy, Nineteen Hundred and Eighty Five, Wild Life, Lonely Road, Listen to what the man Said, Getting Closer, The Pound is Sinking, So Glad to See You Here.

Paul McCartney: the best voice in rock and pop: Part 9 Tug of War

2012-09-19T20:50:00.002+01:00

No. 9 Tug of War from Tug of War (1982)

A very slick song produced by Mr. George Martin. A perfect vocal performance that builds to a higher register as the song develops. It is one of those McCartney songs that he gets just right. It is faultless and beautifully sang. It all comes too easy to him.

Paul McCartney: the best voice in rock and pop: Part 8 Winter Rose / Love Awake

2012-09-16T20:42:00.000+01:00

No. 8 Winter Rose / Love Awake from Back to the Egg (1979)

A raspy, soulful and haunting vocal on a song that is really two songs. The first is a lovely haunting song and Paul sounds like Rod Stewart at his early understated best. Then the second part is a much more uplifting sweet vocal that exudes optimism and is note perfect.

Paul McCartney and Damon Albarn

2012-09-08T21:49:00.001+01:00

Two of my favourite artists together.

Coming Up is now rumoured to have been played. Funky.

Paul playing on the African Express tonight?!

2012-09-08T20:56:00.002+01:00

Check out his Twitter feed. Looks like he will play with the Noisettes. Although Damon Albarn plays Goodnight Tonight, so who knows?! Would be nice if he just played bass and gave the spotlight elsewhere, perhaps adding some wonderful harmonies.

http://twitter.com/PaulMcCartney

Picture taken from @PaulMcCartney

Paul McCartney: the best voice in rock and pop: Part 7 Put It There

2012-09-08T20:48:00.000+01:00

No. 7 Put It There from the Flowers In The Dirt Album (1989)

A very simple Paul McCartney song that is instantly memorable. The vocal is sung in quite a high key allowing Paul to drop his voice for added effect. A faultless, pure, sweet and heartfelt vocal for a gorgeous acoustic song. Simplicity is sometimes the best option and McCartney makes this sound simple to sing, but it is actually quite difficult to achieve.

Paul McCartney: the best voice in rock and pop: Part 6 Oh Woman, Oh Why

2012-09-03T22:07:00.001+01:00

No. 6 Oh Woman, Oh Why from Another Day Single (1971)

This is the kind of McCartney I love. Gritty, raunchy, simple and still very catchy and melodic. A relatively unknown song that needs to be spread to the world. Oh course, the vocal takes it to another level.

Paul McCartney: the best voice in rock and pop: Part 5 That Day Is Done

2012-09-02T19:08:00.000+01:00

No. 5 That Day Is Done from Flowers In The Dirt (1989)

Paul's back catalogue is so varied - which is one the reasons why he is so hard to pigeon hole and perhaps fails to maintain that cult 'cool' following that John did.

That said, this is a very unique song, and there is little that is similar to this in his song book. This was a co-write with the secret Lemonade's drinkers' fruit and is a moving and haunting song about death. Paul does the subject justice with one of the most emotional and soulful performances of his career. Truly heart wrenchingly beautiful. This man has soul and it shows here.

Paul McCartney: the best voice in rock and pop: Part 4 No More Lonely Nights

2012-09-01T11:00:00.000+01:00

No. 4 No More Lonely Nights from Give My Regards to Broad Street (1984)

This is one of those songs and vocals that just gets you from the first nano second. "I can wait another day..." with no backing whatsoever shows the pure beauty and sweetness of his voice. I builds up to the fantastic vocal. Faultless pop song, faultless vocal.

Paul McCartney: the best voice in rock and pop: Part 3 Beware My Love

2012-08-28T21:55:00.000+01:00

No. 3 Beware My Love from Wings at the Speed of Sound (1976)

Does not need any notes to explain just how good the vocals are. Put some headphones on, turn it up loud and just enjoy.

Paul McCartney: the best voice in rock and pop: Part 2 Junk

2012-08-27T11:53:00.000+01:00

No.2 Junk from the McCartney LP (1970)
Simplicity at its best. A wistful, sweet song. The melody and heart achingly touching vocal convey a emotional punch that resonates with a sad, retrospective feel. Paul sings in his higher register and it exudes beauty.

Paul McCartney: the best voice in rock and pop: Part 1 Monkberry Moon Delight

2012-08-26T12:59:00.003+01:00

In all the hoo-haa that has resulted in the media about Paul's fading voice after the Olympics and Jubilee performances, it is very frustrating that it clouds the fact that Paul had probably the best and most versatile voice in rock/pop music.

In our new series we will be looking at some of Paul's best vocal solo performances, in no particular order, here is the first of ten.

No.1 Monkberry Moon Delight from the Ram LP (1971)
A fantastic quirky song, that Paul literally sings the arse off of it. Amazing vocals. Try singing this and you will see how hard it is to sing.

Geoff Baker on Paul McCartney's 70th birthday

2012-06-19T00:05:00.003+01:00

A nice piece about Paul. Well worth a read.

http://www.mirror.co.uk/news/uk-news/sir-paul-mccartney-at-70-beatles-893809

Paul McCartney's 70th Birthday

2012-06-18T18:56:00.003+01:00

Have a great celebration today, Paul.

Paul has brought to the world more wonderful music than we deserve. Much of his 60's output was of Wings' quality and he has continued ever since to surprise, bring joy, and astound people who care to listen beyond the thumbs aloft and destroy myth that he has done nothing since 1970. He has never really taken a dip.

At his peak, Paul had the best and most varied voice in rock. Listen to anything in the period 1966-1976 for evidence.

Take a bow Paul McCartney of Liverpool, opportunity has truly knocked!

Thank you.

Paul McCartney's video for My Valentine

2012-04-14T10:51:00.002+01:00

The new McCartney video for the, erm, not so new McCartney single.

A nice video Paul, but get your timings and activity right and maximise your sales and you could get, finally, another Top 20 hit.

Let me know if you need help next release!

Very classy though, have a look.

Paul McCartney's best unreleased songs

2012-04-14T00:07:00.003+01:00

Paul has some great unreleased tracks and here are five of the best.

1. Cage
Would have made 'Back to the Egg' almost faultless if it replaced one of the couple of weaker tracks.

2. I think this would have gone top ten in 1987 if released as planned for the Pepper 20 years ago celebrations.

3. His catchiest unreleased song from 1977.

4. Cool, laid back, bluesy and mysterious. Could have been fantastic.

5. Would have been perfect for Driving Rain. A really great piece - strange, wacky and wonderful.

Ramming DVD preview

2012-04-08T18:15:00.002+01:00

RAM DVD, a little preview.

When was Lennon and McCartney's last meeting?

2012-04-07T12:04:00.007+01:00

When did John and Paul last meet is a question that has fascinated Beatle fans for years. We can identify from John's interview with Playboy, which took place in September 1980, that he states the last time they met was in 1976. Although, there have been rumours of meetings in 1978 and 1980. Paul for his part has always remained very quiet on the subject

In all the hoo-haa this week with Paul's son, James' comments about a son of the Beatles band (clearly this is never going to happen) the much more interesting quote that came from James has been somewhat overlooked. James said:

"I know John held me as a baby. Then I have memories of the Dakota building, very white, lots of sunlight pouring in" See it all here

Now, James was born in September 1977. So the generally accepted last meeting could not have been April 1976.

So, what has gone on here? I think the Dakota quotes can be related to later visits after John's death, probably when Paul and Linda visited Yoko in early 1981 after John's death. However, the first part is fascinating.

Has Paul got mixed up (never great with dates) and innocently misinformed James? Has James got confused and thinks he did, but didn't? Did James meet John, and Paul was not present? Or was there a meeting that we don't know about that happened sometime after September 1977? It would be nice if that was the case.

The best thing about the 1976 meeting is that the date can be confirmed to the date of the 'Saturday Night Live' broadcast in which John mentions in the Playboy interview. See below:

PLAYBOY: "Aside from the millions you've been offered for a reunion concert, how did you feel about producer Lorne Michaels' generous offer of $3200 for appearing together on 'Saturday Night Live' a few years ago?"

LENNON: "Oh, yeah. Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired."

PLAYBOY: "How did you and Paul happen to be watching TV together?"

LENNON: "That was a period when Paul just kept turning up at our door with a guitar. I would let him in, but finally I said to him, 'Please call before you come over. It's not 1956 and turning up at the door isn't the same anymore. You know, just give me a ring.' He was upset by that, but I didn't mean it badly. I just meant that I was taking care of a baby all day and some guy turns up at the door... But, anyway, back on that night, he and Linda walked in and he and I were just sitting there, watching the show, and we went, 'Ha-ha, wouldn't it be funny if we went down?' but we didn't."

PLAYBOY: "Was that the last time you saw Paul?"

LENNON: "Yes, but I didn't mean it like that."

So, they did meet on 24 April 1976. That was the night they considered going to the SNL studios but were too tired to show. The following day, 25 April, seems to be accepted as the day that he turned up with his guitar and got the reaction about 'taking care of baby' So was this was the last time they saw each other?

Although John says 'Yes' it does not sound that convincing and later on states in the same interview 'I haven't seen any of the Beatles for I don't know how much time'. It is clear that he can't have seen him recently from that, but he did see quite a bit of Ringo, so it is not 100% truthful.

Anyway, back to the question. It is common knowledge that from 76 until mid 1980 John did not see that many people and became largely a recluse. I seem to remember Jagger stating that he has given up trying to make contact with him. He seemed to spend alot of time with Yoko and Eliot Mintz and a handful of others, but those from his past were mainly ignored. Much of this would be down to raising a child and just life being what happens when you are busy making other plans.

So, it is very likely that John and Paul would not have met or hardly met during this period. Paul was busy being a pop star and raising a family. They did keep good contact on the phone it seems.

It has been stated that Paul was in NY in Jan 1980 and called John asking if he wanted to smoke some great weed that he had? Strange thing to do if they had not met for 4 years. Yoko took the call and Paul never spoke to John and dismissed the idea. Paul then took this weed to Japan...

Paul was in NY in November 1980 for 'Rockshow' which would have been after the Playboy interview. They could have met then. I am sure Paul would have mentioned that he saw John a few weeks ago when the tragic events that followed happened. There is the story from Carl Perkins that Paul's last meeting with John was shortly before his death and that John said "Think of me every now and then, my old friend' However, my understanding is that this was in their last phone conversation on John's birthday October 9th 1980.

So, do James' comments point to a possible meeting between 78-79 ?. I have heard of a rumour of a 1978 meeting, but can't remember where from. This would tie in with all comments on record as a meeting in 1980 would surely have been mentioned by someone. 18 months to 2 years prior would be far enough back to be harder to date in recollection.

So, has James revealed a little gem here which should be getting more coverage or is it none of our business anyway?

I have always thought that there might have been more meetings than is generally accepted. Remember these are days before camera phones, internet, texting, Twitter etc. I'm sure Linda must have some pictures of John and Paul too after the split. The one above from May Pang from 1974 might not be the last photo either!

So, what are others' views?

McCartney and Weller

2012-03-30T22:39:00.000+01:00

RAH 29.3.12. Getting back to Jamin'

Paul McCartney setlist as voted by you, the fans

2012-03-26T23:39:00.003+01:00

Well the voting had closed and the votes counted and verified and the new Paul McCartney set list has finally been revealed. Thanks for all your votes. And with a little luck, Paul will listen to what the fans said.

1. Venus and Mars/Rock Show
2. Getting Closer
3. Too Many People
4. The World Tonight
5. Junior's Farm
6. My Brave Face
7. I've Had Enough
8. Old Siam, Sir

9. Wanderlust
10. Nineteen Hundred and Eighty Five
11. Tomorrow
12. House of Wax
13. Beautiful Tonight

14. Bluebird
15. Some People Never Know
16. Every Night
17. Junk
18. Little Lamb Dragonfly
19. Tug of War
20. Picasso's Last Words

21. Listen To What The Man Said
22. This One
23. Take it Away
24. Hope of Deliverance
25. Beware My Love
26. The Pound is Sinking
27. Young Boy
28. Goodnight Tonight
29. No More Lonely Nights
30. Uncle Albert/Admiral Halsey

31. Silly Love Songs
32. Maybe I'm Amazed
33. Nothing too Much, Just Out of Sight

34. With A Little Luck
35. Back Seat of My Car
36. Hi Hi Hi

What do you think of this set list? Comment below.

You Silly Girl

2012-03-26T22:54:00.001+01:00

Hold your head up you silly girl
Look at what you've done
When you find yourself in the thick of it
Help yourself to a bit of what is all around you

Silly girl take a good look around you
Take a good look you're bound to see
That you and me were NEVER meant to be

P

This geezer, Albert Hall, who is he and how many holes does it take to fill him?

2012-03-26T22:33:00.004+01:00

Answers on a postcard and I will find out on Thursday. The plastic one who goes too far has lent me his brain for the day. Lots of counting. 4000 approx. to be accurate.

If you don't think I've gone too far, then don't pass go, go straight here and you will enjoy.

If you don't think that, then pass go and then collect your thoughts and watch this space for my review!

The best Paul McCartney solo album?

2012-03-26T22:24:00.001+01:00

One of the highlights of the year for all music fans. Possibly his best album, certainly the most enjoyable. It just works. Even the lesser tracks seem to fit. Save your pennies and if you have to buy any of the remasters, buy this one.
PSM

UK Release: 21st May 2012 - US Release: 22nd May 2012

Paul and Linda McCartney's 1971 album will be released across a variety of formats with new and exclusive content including a beautifully packaged Deluxe Edition Box Set - the ultimate collectable

"Ladies and gentlemen, this is an album from a long, long time ago, when the world was different. This is an album that is part of my history - it goes back to the wee hills of Scotland where it was formed. It's an album called RAM. It reminds me of my hippie days and the free attitude with which was created. I hope you're going to like it, because I do!" Paul McCartney, 2012

Following the successful recent reissues of McCartney, McCartney II, and this year's Grammy winner for Best Historical Album Band on the Run, RAM is the latest album from Paul's iconic back catalogue to get the deluxe Paul McCartney Archive Collection treatment. As with the previous releases in the series, Paul has personally overseen every aspect of the project and the result is spectacular. In keeping with the reissue campaign to date, the Deluxe Edition Box Set is the ultimate collectable for any fan of this album. Its stunningly presented 112-page book, photo prints, handwritten lyrics and notes, four CDs and a bonus film DVD, tells the full story of a classic album that has gone down in music history as one of the most revered in McCartney's catalogue.

RAM, originally released in May of 1971, is the only album to be credited to both Paul and Linda McCartney and was Paul's second post-Beatles LP. It was overshadowed at the time by the drama of the dissolution of The Beatles, as played out in the world's media. The album topped the charts hitting #1 in the UK and #2 in the US. While RAM polarized critics upon its release, music fans and critics alike since have overwhelmingly embraced it, with Rolling Stone, for example, revising their original review up to 4 stars. Recently RAM has enjoyed even further re-appraisal and acknowledgement including a number of tribute albums.

RAM was written by Paul and Linda, mostly at their Scottish farm on the Mull of Kintyre. In the autumn of 1970 they flew to New York to start the recording process. Without a band in place they auditioned and drafted musicians, who included future Wings drummer Denny Seiwell and guitarists David Spinozza and Hugh McCracken.

The band completed the album in early 1971 along with non-album tracks 'Another Day' and 'Oh Woman, Oh Why' which were released together as Paul's first post-Beatles single ahead of the release of RAM and became a Top 5 global hit. The multi-disc editions of the RAM reissue include both songs as bonus tracks. The album also gave Paul his first solo US number 1 single with 'Uncle Albert/Admiral Halsey' and a Grammy win for Best Arrangement Accompanying Vocalists.

RAM was also issued in mono with alternate mixes, which were only made available to radio stations at the time. This version has gone on to become one of the most sought after McCartney collectables. It will now be commercially available for the first time ever on CD as part of the Deluxe Edition as well as a limited run on vinyl.

1977 saw the release of Thrillington, an instrumental interpretation of RAM, which was originally recorded in 1971 at London's Abbey Road Studios and was arranged by Richard Hewson. It was released under the pseudonym Percy 'Thrills' Thrillington, an unknown eccentric socialite who often cropped up in mysterious newspaper classifieds. In reality Percy was a character devised by Paul and Linda. The idea behind it was simply to have some fun and the concept of doing a full orchestral album was an ambition long held by Paul.

The additional film content features previously unreleased and exclusive content including the brand-new documentary, "Ramming' narrated by Paul, as well as the original music videos for 'Heart Of The Country' and '3 Legs'.

The remastering work was done at Abbey Road using the same team who recently remastered the complete Beatles' catalogue.

RAM will be available across a variety of different formats:

Standard Edition: 1 CD digipak Single disc, digitally remastered 12- track standard edition

Special Edition: 2 CD digipak Remastered album and 8-track bonus audio CD including rarities, b-sides and the hit single, 'Another Day'.

Deluxe Edition Box Set: 4 CD/1 DVD box set & download Remastered album, bonus audio CD, remastered Mono album, Thrillington CD, bonus film DVD, 112 page book, 5 prints in vintage style photographic wallet, 8 full size facsimiles of Paul's original handwritten lyric sheets and mini photographic book of outtakes from the original album cover photo shoot.

Hi-Res: 24bit 96kHz files of the remastered and bonus audio CD, accessed via a download code inserted on a card within the deluxe edition package

Vinyl: 2LP 180gm, gatefold vinyl with download Remastered album, bonus audio disc plus digital download of all 20 tracks

Limited Edition Mono Vinyl: 1LP, Remastered mono album

Digital: RAM will be available for download across a variation of digital configurations including Mastered for iTunes and High Resolution

Taken from www.paulmccartney.com