The Paul McCartney Project

Real Love

By The BeatlesEP• Part of the collection “The Beatles • Post break-up albums

Timeline See what happened in 1996
UK release date:
Mar 04, 1996
Sessions This album has been recorded during the following sessions

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Track list

Disc 1


1.

Real Love

Written by John Lennon

3:54 • Studio versionA • A year after realising Free As A Bird, Paul McCartney, George Harrison and Ringo Starr completed a second unfinished John Lennon recording, adding new vocal and instrumental tracks to strenghten and enrich the original sound from John's cassette. Real love and care was invested and fine is the result.

Paul McCartney:
Acoustic guitar, Backing vocals, Bass, Double bass, Percussion, Producer, Synthesiser
Ringo Starr:
Backing vocals, Drums, Percussion, Producer
John Lennon:
Drum machine, Piano, Producer, Vocals
Jeff Lynne:
Backing vocals, Guitar, Producer
George Harrison:
Acoustic guitar, Backing vocals, Electric guitar, Percussion, Producer
Geoff Emerick:
Engineer
Jon Jacobs:
Engineer

Recording:
Circa 1979
Studio:
New-York

Session Recording:
February 1995
Studio:
Hog Hill Studio, Rye, UK


2.

Baby's In Black

Written by Lennon - McCartney

3:05 • LiveL1

George Martin:
Final mix producer
Geoff Emerick:
Remix engineer
Voyle Gilmore:
Producer

Concert From the concert in Los Angeles, USA on Aug 30, 1965


3.

Yellow Submarine

Written by Lennon - McCartney

2:48 • Alternate takeC • This new mix of the Yellow Submarine master emphasises its many and varied sound effects and features, unmissably, a novel introduction to the song, spoken by Ringo over marching sound effects, that has remained unheard until now.

George Martin:
Producer
Geoff Emerick:
Engineer

Session Recording:
May 26, 1966
Studio:
EMI Studios, Studio Three, Abbey Road

Session Recording:
Jun 01, 1966
Studio:
EMI Studios, Studio Two, Abbey Road


4.

Here, There And Everywhere

Written by Lennon - McCartney

2:25 • Alternate takeD • Issued here for the first time is a combination of Take 7 (the basic track with Paul's simple but effective guide vocal) and - superimposed near the end - a 1995 remix of those harmonies, as overdubbed on to Take 13

George Martin:
Producer
Geoff Emerick:
Engineer

Session Recording:
Jun 16, 1966
Studio:
EMI Studios, Studio Two, Abbey Road

About

From Wikipedia:

[…] Although the song was released as single in both the UK and US on 4 March 1996, the first time the song was publicly aired had come on 22 November 1995, when the American television network, the American Broadcasting Company (ABC) aired the second episode of The Beatles Anthology.

The single jumped into the British charts on 16 March 1996 at number four, selling 50,000 copies in its first week. However, the single’s progress in the charts was stunted by BBC Radio 1’s exclusion of “Real Love” from its playlist. Reuters, which described Radio 1 as “the biggest pop music station in Britain“, reported that the station declared, “It’s not what our listeners want to hear … We are a contemporary music station.

Beatles spokesman Geoff Baker responded by stating the band’s response as “Indignation. Shock and surprise. We carried out research after the Anthology was launched and this revealed that 41% of the buyers were teenagers.

The station’s actions contrasted strongly with what occurred at the launch of “Free as a Bird” the year earlier, when it became the first station to play the song on British airwaves. The exclusion of “Real Love” provoked a fierce reaction from fans, and elicited comment from two members of parliament (MPs). Conservative MP Harry Greenway called the action censorship, and urged the station to reverse what he called a ban.

An angry McCartney wrote an 800-word article for British newspaper The Daily Mirror about the ban, where he stated: “the Beatles don’t need our new single, ‘Real Love’, to be a hit. It’s not as if our careers depend on it. If Radio 1 feels that we should be banned now, it’s not exactly going to ruin us overnight. You can’t put an age limit on good music. It’s very heartening to know that, while the kindergarten kings of Radio 1 may think the Beatles are too old to come out to play, a lot of younger British bands don’t seem to share that view. I’m forever reading how bands like Oasis are openly crediting the Beatles as inspiration, and I’m pleased that I can hear the Beatles in a lot of the music around today. As Ringo said to me about all this, who needs Radio 1 when you’ve got all the independent stations?” The letter was published on 9 March, the day after Radio 1 announced the “ban”.

The station’s controller, Matthew Bannister, however denied that the failure to include the song was a ban, but merely meant that the song had not been included on the playlist of each week’s 60 most regularly featured songs. The station also hit back by devoting a “Golden Hour” to the group’s music as well as music by bands influenced by the Beatles. This “Golden Hour” concluded with a playing of “Real Love“.

Real Love” fell out of the British charts in seven weeks, never topping its initial position of number four. In the US, the single entered the charts on 30 March, and reached number 11; after four months, 500,000 copies had been moved in the US. […]

Paul McCartney’s letter to The Daily Mirror:

The Beatles don’t need our new single, ‘Real Love’ to be a hit it’s not as if our careers depend on it. We’ve done all right over the years, and if Radio 4 feels that we should be banned now it’s not exactly going to ruin us overnight. But as see it, Radio 1 is part of the BBC, and the BBC is paid for by you and me.​

OK, I can afford the license fee – can afford a good few dozen license fees – but from my time growing up in Liverpool I know that a lot of people have to work damn hard to find the cash. And if you’re paying through hard graft for something, it’s not such a crime to expect that, when you’ve handed over your pennies, you get what you want. If you shell out a couple quid for a beer, you expect a decent pint. But that doesn’t seem to be the case with Radio 1. In a Mirror poll, 91% of readers said they wanted to hear ‘Real Love’ played on Radio 1. Is Radio 1 saying its judgment is better than almost all the British public? Is saying that all the people who bought the record and yesterday put it at No. 4 in its first week don’t know what they like?​

I can understand that Radio 1 just wants to be a young person’s station. Fine. I have no problem with that. But it’s not just young people who pay the license fee to pay Radio l’s wages. People of all ages pay that fee, so how come they don’t get a look in?​

This whole issue about something being good because it’s young – and not so good if it’s not so young – is a weird one. You can’t put an age limit on good music. Just because I don’t suffer from teenage spots doesn’t mean I can’t play the guitar any longer. Are the records of Muddy Waters or B. B. King or Ray Charles no good because they’re not wearing shorts to school? It’s also very heartening to know that, while the kindergarten kings of Radio 1 may think the Beatles are too old to come out to play, a lot of younger British bands don’t seem to share that view.​

I’m forever reading how hands like Oasis are openly crediting the Beatles as an inspiration, and I’m pleased that I can hear the Beatles in a lot of the music around today. That’s what matters most not the views of Radio 1.​

It matters that you’ve passed your music on and that maybe it’s helped to inspire or influence in some little way. Having taken a look at the picture of Trevor Dann, the guy who’s stopped `Real Love’ getting on the air, I must say I’m not surprised – I doubt if anything much would get past him. He looks like a teacher I once knew and I’d be very suspicious if he did play `Real Love’. He’s no spring chicken either. The small group of people at Radio 1 who make these decisions say each record is judged on `artistic’ merit? Who is the judge of that merit? Just them? As a business man, if Radio 1 bosses were working for me I’d also be a bit suspicious of how well this new Radio 1 and its artistic judgment – is doing.​

To me, it doesn’t look too clever to have lost five million listeners by not playing stuff they want to hear. If common sense and the view of the guy in the street had anything to do with it, you’d think they’d be playing for an audience, not against one. But is Radio 1 as important as it was? With all the commercial stations around now, perhaps it’s Radio 1 that is past its time. As Ringo said to me about all this, who needs Radio 1 when you’ve got all the independent stations? But maybe they’re right?​

Perhaps the public doesn’t know what it likes and needs to be told. Maybe the Beatles never knew anything much about music either. When you hear that all of a sudden you’re not good enough for Radio 1 it’s very heartening to learn that, in fact, you’re more than good enough for 91% of the readers of the Daily Mirror. I was very pleased and encouraged to learn Mirror readers are behind the Beatles on this row with the BBC, because that’s what matters. It means we’re getting the people’s vote and that was all that the Beatles ever were – the people’s band.​

We were only a bunch of scruffs from Liverpool.​

Last updated on July 11, 2017


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