Ram＜限定盤＞

1971年に発表されたポール・マッカートニーとリンダ・マッカートニーの共作アルバム。全英で2週1位、全米2位を記録する。前作同様、多くの楽器をポール自身が演奏しているほか、後にウイングスのメンバーとなるドラマーのデニー・シーウェル、セッション・ギタリストのデヴィッド・スピノザとヒュー・マクラッケンが参加したニューヨーク録音も含み、Uncle Albert/Admiral Halsey、The Back Seat of My Carではニューヨーク・フィルハーモニックによるオーケストラ演奏がアルバムに彩りを加えている。

Rolling Stone (p.76) - 4.5 stars out of 5 -- "[A] grand psychedelic ramble full of divine melodies and orchestral frippery....RAM sounds ahead of its time..." Uncut (p.96) - "RAM was McCartney's real return to the pop arena....Occasionally brilliant and historically fascinating." Mojo (Publisher) (p.100) - 4 stars out of 5 -- "[With] defiantly miniaturist pleasures -- the gauzy lo-fi of 'Ram On'; 'Dear Boy''s pocket choir of McCartneys...[and] the easy-swinging, pre-Wings soft rock of 'Uncle Albert/Admiral Halsey'..."

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations -- Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass -- but Paul McCartney certainly didnt, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram. Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken. Its filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite Uncle Albert/Admiral Halsey. All this made Ram an object of scorn and derision upon its release (and for years afterward, in fact), but in retrospect it looks like nothing so much as the first indie pop album, a record that celebrates small pleasures with big melodies, a record thats guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation, and even here, on possibly his most precious record, theres some ripping rock & roll in the mock-apocalyptic goof Monkberry Moon Delight, the joyfully noisy Smile Away, where his feet can be smelled a mile away, and Eat at Home, a rollicking, winking sex song. All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, but on the more obviously tuneful and gentle numbers -- the ones that are more quintessentially McCartney-esque -- its plain to see how imaginative and gorgeous the arrangements are, especially on the sad, soaring finale, Back Seat of My Car, but even on its humble opposite, the sweet Heart of the Country. These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year. ~ Stephen Thomas Erlewine