MAY 17th, 1971: RAM IS RELEASED

The Beatles | 17 May 1963 © Dezo Hoffmann (II) (III) (IV)

listening to the album imagine (1971) by John Lennon is a rollercoaster because why are the songs like "I wish we had peace everywhere, I suck, Paul McCartney I hate you kill yourself, I love you Yoko"

PAUL McCARTNEY in WINGS OVER THE WORLD (1979)

Skåne, Sweden

I finally watched the Rupert and the Frog song (We all Stand Together). I still see people (mostly older, mostly on Facebook) dunking on “the frog chorus” and it’s just so clearly an outdated notion for it to be lame for a musician to make content explicitly for children. It’s so common now for artists who’ve become parents to make something their kids will enjoy. Jack White sang a song with the muppets on Sesame Street because he loves his fucking kids. It’s so normal now.

I get where Mary Had a Little Lamb released as single by a rock band went down wrong .. but this is creative, whimsical content explicitly *for* kids. The SONG, in particular, is beautifully composed, imaginative. Lovely! I keep listening to it.

He was 20 years into his career. The Beatles were never Led Zeppelin. It’s hard for me to wrap my head around people still being so weird about this. He such a well rounded musician; it’s all like an exploration in another part of his creativity. There are elements of the classical composing that would come later… and the playful, experimenter who made Robber’s Ball (my beloved), McCartney II, the Fireman records.

But anyway, watching this today reminded me of this moment from Behind the Scenes of BBC Radio where someone presented Paul and Mike with their childhood Rupert book. The title page filled in by their parents reads “This book belongs to Paul McCartney and Michael McCartney”.

It was either Paul or Mike who said they didn’t get many gifts as kids and for Christmas they’d usually get one toy addressed to Paul and Michael from Father Christmas. It makes me really consider why this Rupert project was so important for him that he held onto it for 15 years, always sort of considering ideas for it. There were those RAM era songs that were specifically for the “Rupert project”. It comes up so much in the McCartney legacy book.

Then there’s the element of the frogs and his history with frogs, from growing the tadpoles in his own hand made frog pond in the backyard and checking on them every day until one day they were frogs that hopped away. Then there was the dark, frog killing episode that shocked his brother and he probably felt some shame about.

But here, in this story, there are guard frogs on duty protecting their mostly undisturbed world. Happy and content, it’s the frogs that create this magical chorus.

There’s even a father and son frog pair who’ve come to see this event that only happens every couple of hundred years.

The father is rather Jim McCartney-esque with his pipe and 1940s style hat and manner. There’s a moment where the son inadvertently annoys his father and instantly recoils like he’s about to get hit and momentarily it looks like the father is considering it but gets a hold of himself.

But later, wrapped up in the music together, the father hugs his son.

I don’t know what I’m saying exactly but I think there’s some exploration of his childhood here and something about Rupert and the frog chorus that’s particularly meaningful to him.

Maybe he’s reconciling the dark, frog killing episode of childhood with the vegetarian, animal lover he’d become by giving the frogs their own hero’s story. Rupert, Jim, the threat of violence, the presence of love, the frogs he loved but also was violent toward.. and music at the center of everything. Unifying, healing. We all stand together.

For anyone interested, the full BBC clip is here

The full Rupert short is here

Skåne, Sweden

Horse riding. 1995 / 2025. First photo taken by LINDA McCARTNEY and second photo taken by PAUL McCARTNEY. (x)(x)

Funny early take of Two of Us from the original Let it Be Movie

The Quarry Men’s banjo player, Rod Davis, recalls, “I had bought the banjo from my uncle and if he’d sold me his guitar, I might have been a decent enough guitarist to keep McCartney out of the band. I might have learnt guitar chords, I might not, and that was the big limitation really. McCartney could play the guitar like a guitar and we couldn’t, and let’s face it, a banjo doesn’t look good in a rock’n’ roll group. I only met Paul on one other occasion after the Woolton fête and it was at auntie Mimi’s a week or two later. He dropped in to hear us practising. From my point of view, I was the person he was replacing – it’s like Pete Best – you’re the guy who doesn’t know. Some things had gone on that I was unaware of.”

(Best of the Beatles: The sacking of Pete Best by Spencer Leigh, 2015)