star

Ram feels like a rollercoaster that just won't stop, it keeps leaving you disoriented with every new song, every unexpected turn Paul decides to take. It's an onslaught of information, sounds and lyrics and God damnit it sounds incredible (you're never going to admit that though. Except for maybe that song that went "hands across the water". You really liked that one. Is it because it sounded like Paul was imitating your voice/ songs?).

By the way, just why aren't the lyrics printed? It's as if Paul is forcing you to carefully listen to each word he's saying and because of this you're forced to absorb both the lyrics and the music at the same time without knowing what's coming next. It's infuriating, especially because you know there are secret messages sprinkled throughout the songs and it's already becoming clear that you're going to listen to this album again and again to pin down every single coded message Paul has expertly woven into this album.

This whole experience is making your hackles rise, because you've never been on the receiving end of Paul's cryptic songs quite like this. You've always been in the studio with him or in the same room while he was composing and, yeah, there had been McCartney but that was clearly Paul messing around and trying to get by, there wasn't a real effort to get under your skin, not like what he's doing with this new album. You're feeling like you're just another member of Paul's audience, a fan listening to his work for the first time and also like Paul's primary addressee at the same time, it's confusing and it's driving you mad.

You're halfway through the album. "Heart of the country" has just finished playing. A nice little tune that still managed to piss you off because you're still angry that Paul retired to freaking Scotland and then refused to see you for 6 months despite all the olive branches you extended, including one very poignant song (ahem, instant karma! The message was there even though it was a very angry and frustrated one "Come and join the human race" "why on earth are you there?").

It sounds like he's having fun up there. The amount of mixed feelings this thought brings is staggering. However, you don't have the time to dwell on them for too long because you're immediately slapped in the face by the honky-tonk piano and the jangling guitars of the next track: "monkberry moon delight". The tone clash of this song compared to the previous one leaves you reeling a little bit, you already knew that Paul was taking you in unexpected directions but the disorientation you feel is still quite significant. You haven't fully regained your wits when Paul starts attacking you with his potent, unhinged lead vocal.

So I sat in the attic, a piano up my nose

And the wind played a dreadful cantata (cantata, cantata)

Sore was I from a crack of an enemy's hose

And the horrible sound of tomato (tomato, tomato)

You're listening closely because you're forced to and you're immediately struck by the fact that Paul is leaning heavily into absurdism here. What do these lyrics mean? One thing you've learned from this album is that the more cryptic the lyrics get, the higher is the probability that they're aimed at you. You're going to pore over this song later, you already know it.

It sounds like Paul is having a bad time trying to create music in his attic. Are you the enemy that gave him pain? Possibly. Plastic Ono Band came out 6 months ago and you didn't pull any punches, especially with the song "God". You wanted it to hurt. You're still mad that Paul decided to drive you crazy with this album in return though.

Ketchup (ketchup)

Soup and puree (soup and puree)

Don't get left behind (get left behind)

Ketchup (ketchup)

Soup and puree (soup and puree)

Don't get left behind

(Don't get left behind, don't get left behind, don't get left behind)

You really wonder what he's saying here. Is it "catch up" or "ketchup"? He did mention a tomato earlier. You're unsure and you're angry because Paul didn't print the damn lyrics. "Don't get left behind" is it aimed at you? You're unsure. It could be Paul talking to himself, his worries taking over. You did make a solid debut as a solo artist with Plastic Ono Band and George had one too with All Things Must Pass. Paul's album was destroyed by the critics, it's probably only natural for him to obsess over not being left behind, trying to create something impressive to catch up with the other Beatles. You still itch to make the verse about yourself though.

When a rattle of rats had awoken

The sinews, the nerves and the veins

My piano was boldly outspoken

And attempts to repeat his refrain

"Rats" is he talking about you? No, alright, you need to calm down, you're already worked up and that isn't doing you any good. It's hard though because you're listening to ram, the new album by Paul McCartney, your ex-husband everywhere that counts except on paper (actually, maybe on there too: Lennon/McCartney); he's an insane genius of a musician and even though that is the reason why you fell for him in the first place, now the scope of his calculated anger and frustration is directed at you and analyzing the situation rationally requires a certain type of cool headedness that you have rarely possessed.

You take a deep breath while Paul carries on with his frankly impressive vocal performance. Maybe he's not attacking you here. It's more likely he's talking about the press. They've always been rats, always getting on your nerves and they've been particularly terrible to one specific singer-farmer recently. "Attempts to repeat his refrain" so Paul has realized that he needs to make a serious album. It pisses you off to admit this but that's exactly what he's been demonstrating with his latest creation so far. Ram is quite remarkable indeed. The word "attempt" catches your attention. It betrays a feeling of insecurity. To think that Paul could feel weak and insecure at this time seems laughable because you're feeling weak and insecure and when you feel that way Paul must surely feel strong. He did say it though. You don't dwell on these thoughts for long though because Paul has finished the verse and is already launching himself into the next one.

So I stood with a knot in my stomach

And I gazed at that terrible sight

He's creating tension. Every word is pronounced in a way that leaves you on the edge of your seat. What made Paul react this way? What is he gazing at?

Of two youngsters concealed in a barrel

Sucking monkberry moon delight

You let out a sharp breath. Your eyes snap wide open, your eyebrows climb up to your hairline. You stare at the record player but you're not actually looking at it. You're looking through it, trying to reach Paul because, what did he just say? Your gaze hardens, your eyebrows furrow, your lips form a straight taut line, your teeth clench.

You know exactly what he means with this line. You were right to feel wary when the song first started because this is just outrageous. These lyrics seem specifically designed to drive you insane.

The word "sucking", pronounced so clearly, gave it away immediately. Paul is talking about oral sex, and not just any oral sex he may have had in his life; he's talking about the one he had with you. "Two youngsters concealed in a barrel" two teenagers hiding and having their way with each other. "Concealed" because whatever they did, even if it were some innocent hand holding, had to be done in secret, hidden away. And Paul put it into a song. Shock and anger rush through you in equal amounts and the repeated "monkberry moon delight" that follow the verse don't help you calm down because they feel like taunts.

Maybe you jumped the gun with this interpretation but you're pretty sure you didn't. You know Paul and you know that he loves adding double meanings to his songs and if this is a song directed at you, which it very well might be considering everything that came before, then this is a double meaning only you will be able to catch. It's particularly maddening because if you're right you may want to talk to someone about what you uncovered but you'll be forced to stay silent because acknowledging this line and what it actually means is not something you can do. It would reveal everything you and Paul have worked so hard to conceal, all the sacrifices you made, even ruining the best thing that ever happened to you. No, you'll be forced to keep your mouth shut about it and go slightly insane while doing it.

The song is not even done.

Well, I know my banana is older than the rest

You're still fuming because of the previous lines when a startled laugh escapes you. "Banana" clearly calls a certain explicit image to the mind. It is true that Paul is getting older, that you're getting older.

And my hair is a tangled beretta (beretta, beretta)

And when I leave my pyjamas to Billy Budapest

And I don't get the gist of your letter (your letter, your letter)

This seals it. The song is directed at you. You and the angry letters you've been exchanging with Paul. Also "don't get the gist"? Of course he did, he's Paul, he knows you like no other. How could he not get it?

Catch up (catch up)

Cats and kittens (cats and kittens)

Don't get left behind (get left behind)

Catch up (catch up)

Cats and kittens (cats and kittens)

Don't get left behind

(Don't get left behind, don't get left behind, don't get left behind)

More of the same catch up, don't get left behind business. What's up with the cats and kittens? You frown but then you realize something. Maybe he wanted to make his daughters laugh. You still remember how Heather went on and on about kittens during the get back sessions, even though that seems so long ago now.

Monkberry moon delight (x20)

Is this what a descent into madness feels like? Now you're certain that he's talking about you, taunting you. He's reminding you of what you once had, what you once shared and it's frustrating you like nothing else could.

Paul really let himself go here, he's shrieking, wailing, he's all over the place and it all feels like a direct attack against you. You stare at your record player in complete outrage and yet still taken by his performance. You knew the man could scream but this is just crazy.

You feel jittery, Paul's vocals are making you want to get to your feet, jump, just do something with your body. So you do. You stand up and start to pace back and forth, just a couple of steps at a time before turning back around because you still can't stop staring at your record player, because Paul is insane. And as if the repeated "monkberry moon delight" wasn't enough he starts moaning. It makes you stop in your tracks and clench your teeth so hard you can feel a slight crack but you really don't care because what the hell? Is he serious? Is he actually simulating an orgasm? Your breathing comes out harsh and unsteady, heat is rushing through your veins and you're not sure whether it's entirely because of anger anymore.

The monkberry moon delight that comes after "what is it?" is too much, you tear your gaze away from your record player and pick up your pacing again only this time it takes up the entire room while profanities escape your lips. You know you look like a caged animal but you don't care because Paul just did that and it's too soon for your brain to form an adequate and calm response.

"Whoo" exhales Paul and you immediately turn around and glare at the record as if it were Paul himself. You shouldn't have because a new screamed "monkberry moon delight" hits you square in the chest and the squirming feeling makes its comeback.

The song ends and you're panting, rooted to the spot and shaking slightly. You can't believe the nerve of the man.

What does she get for all the love she gave you

There on the ladder of regrets?

Mighty river, give her all she gets

The first verse introduces us to three of the main characters of this song, "she" who we automatically associate with a woman, "you" who is probably this woman's lover (which for clarity's sake we'll interpret as being a man) and the "mighty river".

The song opens with a question, Paul asks directly the character "you" what "she" gets as a reward for all the love "she" gave him. while Paul is asking this question "she" is standing on a ladder of regrets.

It sounds like all "she" is doing is give and give without getting anything or not much in return, hence the "ladder of regrets".

"She" is apparently in a relationship of sorts with this "you", but is unhappy because even though "she" gives her love to "you" it doesn't look like "she" gets much of anything in return, only regrets. We don't know why "you" isn't giving "she" the love which she very much craves, at least not yet. We might need to get to know the characters a little better to find this particular detail out.

Paul then invokes the "mighty river" and tells it to give her ("she") all she gets. In everyday English, "give someone what they get" can sound punitive ("give them what they deserve") but in this case it's more likely that Paul is asking the river to give her what she deserves which is to say the love "you" hasn't been giving her back. There is a certain weirdness to this line, why would Paul be asking this river we still don't know much about to supply "she" with love she clearly has been craving from someone else? It's even weirder because the river disappears from the next two verses. We may need more context from the song before fully analysing this line.

What does she get for all the love she gave you

There on the ladder of regrets?

Daytime nightime suffering is all she gets

The answer to the question asked in the first verse is answered here, all "she" gets for the love she gave this mysterious "you" is pain by day and by night.

Where are all the prizes for the games she entered

With little chance of much success?

Daytime nightime suffering is all she gets

"She" entered many games probably orchestrated by "you", games that were hard to win or rigged because the chances of success weren't high. Paul is asking where the prizes and the rewards are for participating in these games. It's interesting to note that Paul doesn't say "she" has won any of the aforementioned games and yet he's implying that "she" should still receive prizes for even taking part in them. It makes me think that these "games" were not something to be won or lost, but were instead a bit of a dance between two people, two lovers, with the "you" being the main instigator and "she" taking part in them. And yet all "she" gets for taking part in them is daytime and nighttime suffering.

Come on river, overflow

Let your love for your people show

Come on river, flow through me

Let your love for your people be

You are the river, I am the stream

Flow mighty river through me

This verse is very tricky so let's slowly go through it and discover what it might mean.

The first thing to notice is that we're undergoing a change of scenery. "She" who has been the main character of the song so far, disappears in this verse. In her stead we have the "river" that was introduced to us in the first verse, the second is that Paul is no longer an omniscient narrator but he himself is now a character in the song: "me", "I". So we now have four characters in this song: "she", "you", "river" and "me", Paul himself.

This is all rather confusing. Where has "she" gone? Weren't we talking about her suffering? The sudden reveal of Paul as a character in the song when we had so far been thinking he was just the narrator is also destabilizing, what might this all mean?

These questions will be answered as we continue to analyze the song.

Come on river, overflow

Let your love for your people show

After reading these first two lines we understand that Paul is personifying the River, he's treating it as if it were a person with feelings they're suppressing, not only that, he's egging it on: "come on river" he says, "overflow". The river feels love but it doesn't show it to "his people", it doesn't let its love "overflow" because it's contained, hidden.

Come on river, flow through me

Let your love for your people be

Paul himself enters the picture. He's still egging the river on but this time he's telling it to flow through him and from what we've learned in the previous two lines, the water of this river is the love it feels and this love only becomes visible to the people when it overflows. When Paul says to the personified river to flow through him he's actually telling it to let its love flow through him (Paul).

Paul wants to feel the river's love.

He then says "Let your love for your people be". Paul is once again asking the river to show its love to his people, to let this love be and since he wants the river to flow through him this line implies that Paul himself is one of those "people" he's talking about in this line.

You are the river, I am the stream

Flow mighty river through me

These lines are the pivotal point of the song and hold a lot of meaning.

The river, which Paul had previously personified, is now getting associated with the "you" that we'd seen previously in the song. The "you" that is the lover of "she". The "you" that makes "she" suffer because while "she" gives "you" all her love, "you" doesn't give back what he receives from her.

Sounds familiar?

The river, just like "you", doesn't let its love show (or "overflow" as Paul put it). The people, Paul included, crave the river's love, just like "she" craves love from "you".

Paul with this line has just given us the key to fully understand the characters he has presented us that had seemingly nothing to do with each other.

"You" and the "mighty river" are one and the same. The story about "she" suffering because of "you" was just an allegory for the suffering Paul himself is undergoing because of the river and its choice not to show its love, as he has explained with the lines "Come on river, overflow, let your love for your people show. Come on river, flow through me, let your love for your people be" that we have previously analyzed. He craves love from it -or at this point shall we say him- just like "she" craves love from "you".

Since Paul fused together "you" and the river with the words "you are the river" and since Paul has put himself in the position of craving for the river's love, we can come to the conclusion that Paul himself is also probably the "she" that craves love from "you".

But who exactly is this "you" that has been making Paul suffer so much? I found a possible answer to this question contained in the second half of the very same line we've been analyzing, but to understand what Paul is possibly getting at here I'm afraid we'll need to go on a bit of a journey so please bear with me while I slowly go through this.

Let's start by defining what the two bodies of water cited in that line are:

River: A river is a natural, flowing body of water that follows a distinct path, usually moving downhill from higher elevations (like mountains) toward a lower body of water, such as an ocean, lake, or another river.

Stream: A stream is a continuous body of surface water flowing within the bed and banks of a channel. Depending on its location or certain characteristics, a stream may be referred to by a variety of local or regional names. Long, large streams are usually called rivers, while smaller, less voluminous and more intermittent streams are known, amongst others, as brook, creek, rivulet, rill, run, tributary, feeder, freshet, narrow river, and streamlet.

As you may have already understood the main difference between these two bodies of water is the size. When a stream is big enough it is described as a rived instead.

So is Paul talking about two different bodies of water here? One large and mighty river and a smaller stream? Possibly, but I don't really think that's the case. There's another explanation to what Paul might be getting at here.

You see, the stream Paul talks about can also be interpreted as a "stream of water", which has a different meaning from the word "stream". Here's the definition:

Stream of water: Stream water refers to the water that flows naturally within the bed and banks of a continuous channel, such as a brook, creek, or river.

You may already see what I'm getting at here. If we take this definition then the stream is in and of itself part of the river.

Now let's get back to the song and the line we're currently analyzing.

You are the river, I am the stream

Paul is identifying himself with the stream. No tricks here, he's being very direct. The implications of this line are however quite mind-blowing and practically impossible for me to fully describe so pardon me because words are probably going to fail me soon.

The river (which we now know is a mysterious person that has made Paul suffer because he doesn't let his love show when that is exactly what Paul is carving) and the stream are one and the same. The stream flows inside the river, the river is the stream. This line speaks of a shared identity, a shared soul and as far as I know, Paul, while looking into his eyes, "dissolved" into one other person and one other person only.

With only one person has he ever had such an intense bond, a bond so deep and everlasting that he talks and sings about it to this day. You only need to look at his recent slip of the tongue "his spirit is still in mine- in me" to understand what I'm getting at here. I think he's talking about John.

This song from 1979 perfectly captures the various mood changes and feelings Paul was apparently going through during this period and that we can find in his songs from the time; feelings like the pain and suffering of "arrow through me", the urgency of "Morse moose and the grey goose" and the hopefulness of "with a little luck" and "coming up", which I believe are all songs possibly written about and for John. All those feelings are present in the song we're currently analyzing.

Paul and John have always liked to play with identity, no need to look farther than lines like "I am he as you are he as you are me and we are all together" from I am the walrus and "the walrus was Paul" from glass onion (which I don't really have the strength to analyze right now, my brain is already breaking because of this song, I can see why Paul was so proud of it.), so whenever I see a lyric that plays with identity, my gut reaction is to take a look at their bond to see if it fits the general tone of the song, especially if it's a Paul song. And their relationship and what they were going through emotionally at the time this was written, do fit this song particularly well.

Flow mighty river through me

Remember, Paul is the stream. Here he is asking the river, John, to flow through him. He's asking John to be one soul in two bodies again. He's asking John to get back together in their most quintessential and unique way.

Now we have the necessary context to fully analyze the third line of the song which sounded pretty weird but now takes on another, more complex, meaning.

Mighty river, give her all she gets

Since Paul has merged the characters of the river and "you" in one with the words "you are the river" and since in this analysis both "you" and the river are John and "she" is Paul, what comes out (with some poetic license on my part) is something like this: "John, please give me what I deserve (your love) what little you're giving me now is not nearly enough and because of this I suffer day and night".

Back to where we left off:

What does it pay to play the leading lady

When like the damsel in distress

Daytime nightime suffering is all she gets

We're back to the "she" character but now it's easier to understand what Paul is telling us. For clarity's sake I'll now start interpreting "she" as Paul himself.

What's the point of being a main character in their mind games when Paul suffers day and night like a damsel in distress? I don't know exactly what kind of mind games Paul and John were playing in the 70s but from the looks of it they were quite the complicated ones and especially in the late 70s left them both feeling miserable.

It's also interesting to note that Paul has taken the role of the woman in this song, he feels silly like a damsel in distress, unable to save himself from the situation she's been thrust in and dependent on the hero to save her.

No less, no more

(No less, no more)

No sea, no shore

(No sea, no shore)

No sand, no pail

(No sand, no pail)

No fairy tale anymore

Paul gets no less and no more than daytime and nighttime suffering. There's no sea, no shore, no sand, no pail (we could analyze the sea and what it means to both John and Paul but this analysis is already long enough) and no fairy tale anymore.

The bit about the fairy tale is particularly interesting. There are multiple interpretations that I find likely:

Referencing the previous line about the damsel in distress, Paul could be saying that he's tired of these games they've been playing, he wants John to stop beating around the bush and do something already in regards to their relationship.

It could also be referencing the Beatles, their very own and special fairy tale that is no more, along with their youth. He could be saying that they're too old to still be playing games.

Another likely interpretation comes from a story Paul has shared about calling John on the phone in an attempt at mending their relationship in the late 70s. He said that John was suspicious of his motives and kept asking what he really wanted and during the conversation John apparently angrily told him "you're all pizzas and fairy tales!" (Paul had been talking about what he was going to eat and about reading fairy tales to his kids). This remark deeply hurt Paul who after weakly replying with "Oh, fuck off, Kojak" slammed down the phone. It wouldn't surprise me if he's referencing John's own words here. Possibly telling him that he's ready to actually have an adult and serious conversation about their relationship, that he's ready to mend it and for them to be together again if John wants to.

Come on river, flow through me

Don't be stopped by insanity

Come on river, overflow

Let your love for your neighbors grow

We've already talked about the meaning of the first line so let's focus on the second one. Paul who is asking the river, John, -and here I'm going to use an euphemism- to get together again, is also basically begging him to not be stopped by insanity. We know John was paranoid, we've just gone through a story of him being suspicious of Paul's real motives when all Paul actually wanted to do was catch up and possibly mend their frayed relationship. Paul knows that one of the main reasons they haven't made up yet is because of John's fraught state of mind, here he's asking him to push through it, to see reason and to "flow through" him.

"Come on river, overflow" again, egging him on to give into his feelings.

"Let your love for your neighbors grow" Paul is not the only one that has been deprived of John's love. The entire world has been. He's telling John to remember that there are other people outside, be it his neighbors or the American population, he's hoping for John to reinvigorate himself, to at least set foot outside of his house more often.

You are the river, I am the stream

Flow mighty river, through me

Daytime nightime suffering

Is all she gets

Daytime nightime suffering

Is all she gets

Daytime nightime suffering

Is all she gets

What does she get for all the love she gave you?

Repeating the most important lines. They could be one again if John wanted them to be. Paul suffers day and night because of John. What does Paul get for all the love he gave John?

As a little treat there's also this

She gives me everything

And tenderly

The kiss my lover brings

She brings to me

And I love her

She's amazing, she gives him everything, tenderly "The kiss my lover brings she brings to me" could be an allusion to sex, or a metaphor for Jane showering Paul with love.

"And I love her" the refrain feels weird though. The word "and" has been added. It no longer sounds like a declaration, it's more like a reminder. It sounds like Paul is reminding himself of how lucky he is that he gets to be loved by someone as beautiful as Jane. But It also sounds performative. The added "and" is damning, it feels like a sigh.

A love like ours

Could never die

As long as I

Have you near me

Most important verse. Let's now analyze the pronouns "her" and "you" that we find throughout the song.

It's weird to constantly change pronouns throughout the song when talking about a singular person, it sounds unnatural. Then why is Paul first addressing Jane as "she/her" then switching to "you" then back again to "she/her"? Since he's talking about her and her only it would've been quite easy to say "I love you" and "and I love you". But he didn't. For this song to grammatically make sense Paul has to be talking about 2 different people. The people in question being Jane (her) and the mysterious "you".

The fact that "you" is someone other than Jane is cemented by the rules of basic grammar.

We have to look at the songwriting history of the song. The lyrics are entirely Paul's except for this middle eight. Paul wrote it together with John (it was suggested that the song sounded a bit too repetitive so they took to the piano and came up with this verse). I am of the belief that the mysterious "you" in this song is John. Because of this, this middle eight becomes particularly interesting.

John himself reaches into the song, becoming a part of it. This verse states that he always comes first in Paul's heart, despite what Paul was trying to previously say. This love song that was born as a declaration of love for Jane gets hijacked by the real recipient of Paul's feelings.

This middle eight sounds like John interjecting into the song, and fully at that by taking part in the writing process.

Since this is sung by Paul alone though, it also sounds like Paul is recognizing and admitting to what they wrote together.

"A love like ours could never die as long as I have you near me" they are afraid of being separated. They're young, they're scared of the distance the world is inevitably going to put between them so they find solace in this song where, because it was written by the two of them, they're as close as they can be. Intertwined into song for eternity.

Bright are the stars that shine

Dark is the sky

I know this love of mine

Will never die

And I love her

Paul is alone again, John has left him to come to his own conclusions about who he really loves, we feel this because the double tracking briefly disappears for the first time in the song. Paul's voice rings clear and true. As he gazes at the night sky he admits that the undying love he feels is not for Jane, but for John. He does this by mirroring the words used in the middle eight "A love like ours could never die" -> "I know this love of mine will never die". Paul recognizes that what he said in the middle eight, accompanied in writing by John, is the truth.

However true and timeless his love may be though, this is still a song about Jane, his girlfriend, this was born as a declaration of love to her. So, despite the magnitude of love he feels for John, he goes back to the original subject. "And I love her". It feels like resignation, the bad kind. He wants to be with John but he can't, society won't accept them. What he feels for Jane IS love but the problem is that it can't compare to what he feels for John. That's why the refrain now sounds like a lie. This feeling is even more evident when Paul sings this verse a second time. It's almost easy to picture silent tears rolling down his cheeks as the final words roll off his tongue.

And I love her

I am of the opinion that this song is about Paul's love for Jane and John. I think Paul truly loved Jane but his love for John was just something else, it overshadowed everything because it was (and still is) so deep and powerful.

*There is also something to be said about the way the lead guitar is used (thanks George for being amazing); in the second verse it gives off a feeling of unrest, almost anxiety- coincidentally this is where the refrain changes from "I love her" to "and I love her".