Location
Recording studio: High Park Farm, Kintyre, Scotland
Timeline
Previous session Apr 02, 1970 • Mixing "Let It Be" album
Interview Apr 30, 1970 • Paul McCartney interview for RollingStone
Article May 1970 • John Lennon and Paul McCartney win five BMI Awards
Session May-August 1970 • Home recordings - "Ram" demos
Interview May 02, 1970 • Paul McCartney interview for Melody Maker
Album May 08, 1970 • "Let It Be (Limited Edition)" by The Beatles released in the UK
Next session Oct 12 to Nov 20, 1970 • "Ram" sessions (CBS Studios, New York City)
Master release
Circa 2011, according to a post on the Steve Hoffman Music Forums, 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.
If this post is correct, 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
Session activities
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "great voice and feel"
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Written by Paul McCartney
Recording • "embryonic version"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Why Am I Crying" with comment "embryonic"
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Written by Paul McCartney
Recording • "wonderful"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Just Another Day" with comment "great"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Gypsy Get Around" with comment "on ukulele"
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Written by Paul McCartney
Recording • "on ukulele"
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Written by Paul McCartney
Recording • "cool"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Rupert Guitar Song Instrumental" with comment "with whistling"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Rupert Little Lamb Dragonfly" with comment "magical"
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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"
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Love Is Long
Recording • "with Linda and unknown verses"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Eat At Home/Buddy's Breakfast/Indeed I Do", with comment "medley with Linda, loose"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • Under the name "Monkberry Moon Delight/Frenzy" with comment "medley, wonderful and crazy"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "another chat between Paul and Linda at the end about Jimi's possible involvement, great take"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "with insects noise"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "with Linda"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "country feel"
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Written by Paul McCartney
Recording • "drunk version, totally out of tune"
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We're So Sorry
Recording • a.k.a Uncle Albert/Admiral Halsey - "drunk too"
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Written by Paul McCartney
Recording • "bluesy slow version"
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She Can't Be Found
Recording • a.k.a Hey Diddle - "country tune"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "great home version"
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Hands Across The Water
Recording • a.k.a. Uncle Albert/Admiral Halsey - "fun but too long"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "with a fun quote about yesterday at the end, Paul said he wrote this as a game"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "embryonic version on guitar"
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Written by Paul McCartney
Recording • "with the kids around"
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • "with Linda"
