London

On their own, they logically did not reach the levels of the group, often brushed against but never truly touched. Nevertheless, they still delivered at least three substantial solo careers, a unique feat in the history of rock. "Plastic Ono Band" is a particular work, certainly Lennon’s best, but that’s John; Paul would never have recorded a similar album. They shared the common experience of losing their mothers—John expressed this in "Julia" and "Mother," while Paul did so in "Let It Be," showcasing different styles for different lives. In any case, the three solo careers of the Beatles must be absolutely known; then everyone can judge ;)

Sorry... but on this album Paul doesn't play all the instruments; the band was composed of: Denny Seiwell on drums (who later joined Wings), Dave Spinozza and Hugh McCraken on guitar, Paul on bass, and Linda on backing vocals... The albums where Paul plays everything himself are: "McCartney" '70, "McCartney II" '80, part of "Flaming Pie" '97, "Chaos And Creation In The Backyard" '05, and "Memory Almost Full" '07. I don't count the myriad of alternative projects, some of which were officially released.

"Ram" is a masterpiece not for the intrinsic quality of the songs but mostly for the spirit it embodies. Back in '71, critics tore it apart without even listening to it, but everything Paul did was ruthlessly criticized because he was the bad Beatle who had put an end to the group's fairytale. Some critics even had the brilliant idea of comparing it to "Imagine," pure ignorance. Paul was the ex-Beatle who dared the most at the beginning of his career and never exploited his status as an "ex-Beatle"; for example, Lennon would never have done the university tour in '72, but Paul did. Lennon was allowed to release an unnecessary double LP in '72, "Sometimes In New York City," while Paul had the entire second disc of "Red Rose Speedway" canceled in '73 because it would have cost too much money to produce. McCartney's early career was quite challenging but in the end, he had the satisfaction he deserved; initially, Linda's contribution was minimal—just listen to her parts in "Wild Life"—but starting from "Band On The Run," she gained some weight and some compositions arose from her ideas, like the melody of "Old Siam Sir" or the brilliant reggae part of "Live And Let Die"... and then, Linda was a fantastic photographer before she was a keyboardist.

Coming to the album, it’s a pop masterpiece; it’s the brilliant McCartney mixing things up and indulging in a myriad of little gems. Paul said at the time that he was just a musician doing whatever came to his mind; "Ram" is the litmus test to distinguish someone who understands who McCartney truly is from someone who always expects a new "Yesterday." I have the vinyl; the story of this LP is beautiful and Linda played a crucial role. Today, I was watching "One And Clapping" on the new wonderful version of "Band On The Run"; without her, Paul would have completely lost his way. We all eagerly await the new version of this masterpiece that should be listened to at low volume, slowly.

A very serious mistake, indeed a monumental one, and I regret to point it out to you, but the album belongs to Paul and Linda McCartney; if you omit this, you rob it of its historical value.

Del Redford as a director is beautiful "Ordinary People," the award-winning debut from '80. I don't know this one.

Well...Ono is now scraping the bottom of the barrel with Lennon's material, and now all of McCartney's work is coming out like never seen before...and all the critics and fans are focused on this.

...at least now they have a real drummer with Steve Ferrone.

McCartney would drop by to visit the Floyd who were recording next door; it was an exceptional time and at the EMI canteen, you could find some of the brightest musical minds of the 20th century. There was a constant flow of ideas, a perpetual exchange of experiences.

This tour was one of the most beautiful in rock history; for Paul, it was a unique experience to travel around the world with his family, playing great music and giving the audience an exceptional show. The next Wings tour, that of December '79 and January '80 (then canceled in Japan), despite presenting an excellent setlist performed by a tight-knit band, has a different spirit—more polished and less ambitious. It's enough to remember that from a beautiful work like "London Town," they only performed "I've Had Enough."