Browse content similar to A Concert for Bangladesh Revisited. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Mr Harrison, with all of the enormous problems in the world, | 0:00:24 | 0:00:29 | |
how did you happen to choose this one to do something about? | 0:00:29 | 0:00:34 | |
Because I was asked by a friend if I would help, that's all. | 0:00:34 | 0:00:37 | |
CROWD CHEERS | 0:00:37 | 0:00:40 | |
MUSIC: "Awaiting On You All" by George Harrison | 0:00:41 | 0:00:44 | |
# You don't need no love in | 0:00:48 | 0:00:51 | |
# You don't need no bed pan | 0:00:51 | 0:00:54 | |
# You don't need a horoscope or a microscope | 0:00:54 | 0:00:56 | |
# To see the mess that you're in | 0:00:56 | 0:00:58 | |
# If you open up your heart You'll know what I mean | 0:00:58 | 0:01:04 | |
# We've been polluted so long | 0:01:04 | 0:01:06 | |
# Here's a way for you to get clean | 0:01:06 | 0:01:10 | |
# By chanting the names of the Lord and you'll be free | 0:01:10 | 0:01:13 | |
# The Lord is awaiting on you all to awake and see | 0:01:15 | 0:01:20 | |
# Chanting the names of the Lord and you'll be free | 0:01:20 | 0:01:25 | |
# The Lord is awaiting on you all to awake and see... # | 0:01:25 | 0:01:29 | |
Few musical events in recent years have attracted as much attention as George Harrison's concert | 0:01:37 | 0:01:42 | |
for the relief of the refugee children of the holocaust in East Pakistan. | 0:01:42 | 0:01:47 | |
Scheduled for August 1st here at the Garden, | 0:01:47 | 0:01:49 | |
and although tickets don't go on sale until Thursday, | 0:01:49 | 0:01:52 | |
the lines have already started to form. | 0:01:52 | 0:01:54 | |
-I asked some kids why they're here so early. -To get a good seat. | 0:01:54 | 0:01:58 | |
I'm really into this East Pakistan thing. | 0:01:58 | 0:02:00 | |
Er...masochist. | 0:02:00 | 0:02:02 | |
Ironically, probably the last time the fans were turned on like this was when | 0:02:02 | 0:02:07 | |
the Beatles themselves played together as a group at Shea Stadium. | 0:02:07 | 0:02:11 | |
From Madison Square Garden, this is Geraldo Rivera reporting for Channel 7 Eyewitness News. | 0:02:11 | 0:02:16 | |
Really, it was Ravi Shankar's idea. | 0:02:22 | 0:02:25 | |
He wanted to do something like this and he was... | 0:02:25 | 0:02:28 | |
talking to me and telling me about his concern for the thing | 0:02:28 | 0:02:31 | |
and asked me if I had any suggestions. | 0:02:31 | 0:02:33 | |
Then, after half an hour, he talked me into being on the show. | 0:02:33 | 0:02:38 | |
# Bangladesh | 0:02:39 | 0:02:40 | |
# Bangladesh | 0:02:41 | 0:02:43 | |
# Such a great disaster | 0:02:45 | 0:02:47 | |
# I don't understand | 0:02:47 | 0:02:49 | |
# But it sure looks like a mess | 0:02:49 | 0:02:52 | |
# I've never known such distress | 0:02:54 | 0:02:57 | |
# Please don't turn away | 0:02:59 | 0:03:01 | |
# I want to hear you say | 0:03:01 | 0:03:03 | |
# Relieve the people of Bangladesh... # | 0:03:03 | 0:03:07 | |
Personally, I prefer to be a part of a band. | 0:03:07 | 0:03:11 | |
But, um... | 0:03:11 | 0:03:12 | |
But for this, you know, it was just something | 0:03:12 | 0:03:16 | |
we had to do in order to get the money. We had to do it quick. | 0:03:16 | 0:03:20 | |
War was going on between | 0:03:22 | 0:03:24 | |
Pakistan and Eastern Pakistan, as it was then known, | 0:03:24 | 0:03:29 | |
which was part of the original whole of Bengal - | 0:03:29 | 0:03:34 | |
that's where I belong to. | 0:03:34 | 0:03:37 | |
And all my distant relatives, along with many other refugees, | 0:03:37 | 0:03:43 | |
they were coming by thousands to Calcutta. | 0:03:43 | 0:03:46 | |
And all the women and children suffering, | 0:03:46 | 0:03:49 | |
and all that made me feel very concerned. | 0:03:49 | 0:03:52 | |
And George immediately said that he would help. | 0:03:52 | 0:03:58 | |
'I had the benefit of fame with The Beatles. | 0:04:00 | 0:04:04 | |
'John, you know, he was... he made me more aware | 0:04:04 | 0:04:07 | |
'of that aspect of using The Beatles' power, | 0:04:07 | 0:04:11 | |
'using recordings and videos and stuff to make more money.' | 0:04:11 | 0:04:16 | |
George, in the concert on August 1st, you will be the number one star. | 0:04:16 | 0:04:20 | |
-How do you feel about that? -Er...nervous. -LAUGHTER | 0:04:20 | 0:04:25 | |
MUSIC: "Something" | 0:04:25 | 0:04:27 | |
# Something in the way she moves | 0:04:29 | 0:04:33 | |
# Attracts me like no other lover | 0:04:37 | 0:04:40 | |
# Something in the way she woos me | 0:04:43 | 0:04:48 | |
# I don't want to leave her now | 0:04:50 | 0:04:54 | |
# You know I believe her now | 0:04:54 | 0:04:57 | |
# Somewhere in the way she smiles | 0:05:01 | 0:05:06 | |
# Tells me I need no other lover | 0:05:10 | 0:05:13 | |
# Something in her style that shows me | 0:05:16 | 0:05:21 | |
# Don't want to leave her now | 0:05:23 | 0:05:26 | |
# You know I believe her now | 0:05:27 | 0:05:29 | |
# Asking me will my love grow | 0:05:39 | 0:05:43 | |
# I don't know | 0:05:45 | 0:05:47 | |
# I don't know | 0:05:47 | 0:05:50 | |
# You stick around now it may show | 0:05:53 | 0:05:57 | |
# I don't know | 0:05:59 | 0:06:01 | |
# I don't know... # | 0:06:01 | 0:06:04 | |
'I think the most memorable thing, really, | 0:06:07 | 0:06:10 | |
'was the fact that it came off and that it worked, | 0:06:10 | 0:06:13 | |
'because there was very little time preceding the concert to organise it. | 0:06:13 | 0:06:17 | |
'The concert happened to be on August the 1st, | 0:06:17 | 0:06:20 | |
'because that was the only day Madison Square Garden was available. | 0:06:20 | 0:06:23 | |
'So it was pure coincidence. And all the people that were assembled, | 0:06:23 | 0:06:28 | |
'with very short notice, with very little rehearsals, | 0:06:28 | 0:06:31 | |
'in some cases, there was no rehearsal.' | 0:06:31 | 0:06:33 | |
My first impression when arriving outside Madison Square Garden was | 0:06:33 | 0:06:38 | |
the level of energy outside. | 0:06:38 | 0:06:40 | |
I mean, as I recall it, it was mobbed outside. There were so many people on the streets. | 0:06:40 | 0:06:46 | |
It was intense. A block and a half away, you could feel it buzzing. | 0:06:46 | 0:06:50 | |
The level was just high! | 0:06:50 | 0:06:52 | |
When your tickets went on sale, they sold out within minutes almost. | 0:06:52 | 0:06:56 | |
It seems as if the same kind of mania that was attached to the group now attaches to you. | 0:06:56 | 0:07:02 | |
-How do you feel about that? -I feel flattered, you know. | 0:07:02 | 0:07:05 | |
I don't understand why it should and it's a great honour, you know. | 0:07:05 | 0:07:10 | |
I was pretty chuffed to be there and it was the place to be that night. | 0:07:10 | 0:07:16 | |
The whole idea of a superstar concert, | 0:07:17 | 0:07:20 | |
which is a pretty bad phrase - superstar concert - but this was the first | 0:07:20 | 0:07:25 | |
of seeing The Beatles or a Beatle. It was a completely rare thing. | 0:07:25 | 0:07:29 | |
I think it was the first time any of The Beatles had been out, you know, since they broke up. | 0:07:29 | 0:07:34 | |
# Got to pay your dues if you wanna sing the blues | 0:07:36 | 0:07:39 | |
# And you know it don't come easy | 0:07:39 | 0:07:42 | |
# You don't have to shout or leap about | 0:07:43 | 0:07:46 | |
# You can even play them easy | 0:07:46 | 0:07:49 | |
# Forget about the past and all your sorrows | 0:07:50 | 0:07:55 | |
# The future won't last | 0:07:57 | 0:08:00 | |
# It will soon be over tomorrow... # | 0:08:00 | 0:08:04 | |
'It was a question of, um... phoning friends that I knew | 0:08:04 | 0:08:09 | |
'and seeing who was available to turn up. | 0:08:09 | 0:08:13 | |
'I spent one month - | 0:08:13 | 0:08:15 | |
'I think the month of June into half of July - | 0:08:15 | 0:08:22 | |
'just telephoning people. | 0:08:22 | 0:08:24 | |
'And there was some people I could really rely on, who was, um... | 0:08:24 | 0:08:30 | |
'you know, Ringo and Keltner - the drummers.' | 0:08:30 | 0:08:33 | |
CROWD CHEERS | 0:08:33 | 0:08:35 | |
'I was hanging out a lot of the time with Leon Russell, and Leon said he'd come | 0:08:35 | 0:08:40 | |
'and we had Badfinger, just to be acoustic guitar players.' | 0:08:40 | 0:08:45 | |
The beauty of the event came across, um...and, you know, the audience | 0:08:45 | 0:08:51 | |
were so great, because they knew, at that time, they were witnesses. | 0:08:51 | 0:08:55 | |
"Wow! Look at these people together!" | 0:08:55 | 0:08:58 | |
Everybody wanted to help, you know. Everybody wanted to be a part of it. | 0:08:58 | 0:09:02 | |
You just knew it was all gonna come together, | 0:09:02 | 0:09:05 | |
because who's gonna say no to George? | 0:09:05 | 0:09:07 | |
George gave me a call and kind of explained what it was about. | 0:09:07 | 0:09:12 | |
And the charity of it. And I said, "Of course. I'd be happy to be a part of it." | 0:09:12 | 0:09:18 | |
I'd like to continue with a... a song from a member of the band. | 0:09:18 | 0:09:22 | |
An old friend of mine - Billy Preston. | 0:09:22 | 0:09:25 | |
It was exciting. To be able to play with people that you normally don't get a chance to. | 0:09:25 | 0:09:30 | |
So it was really exciting. | 0:09:30 | 0:09:33 | |
MUSIC: "That's The Way God Planned It" | 0:09:33 | 0:09:36 | |
# Why can't we be humble | 0:09:39 | 0:09:42 | |
# Like the good Lord said? | 0:09:42 | 0:09:45 | |
# He promised to exalt us | 0:09:46 | 0:09:48 | |
# But low is the way | 0:09:48 | 0:09:51 | |
# How man be so greedy | 0:09:51 | 0:09:53 | |
# When there's so much left? | 0:09:55 | 0:09:58 | |
# All things are God given | 0:09:58 | 0:10:00 | |
# And they all have been blessed | 0:10:00 | 0:10:02 | |
# That's the way God planned it | 0:10:02 | 0:10:06 | |
# That's the way God wants it to be | 0:10:06 | 0:10:10 | |
# To be! | 0:10:10 | 0:10:12 | |
# That's the way God planned it | 0:10:16 | 0:10:19 | |
# That's the way God wants it to be | 0:10:19 | 0:10:23 | |
# To be! | 0:10:23 | 0:10:25 | |
# Let not your heart be troubled | 0:10:29 | 0:10:33 | |
# Let morning sobbing cease | 0:10:34 | 0:10:36 | |
# Learn how to help one another | 0:10:36 | 0:10:39 | |
# And live in perfect peace | 0:10:39 | 0:10:41 | |
# If we'd all just be humbler | 0:10:41 | 0:10:45 | |
# Like the good Lord said | 0:10:45 | 0:10:48 | |
# He promised to exalt us! But low is the way... # | 0:10:49 | 0:10:53 | |
We did two shows, | 0:10:53 | 0:10:55 | |
and the first one was... was excellent. | 0:10:55 | 0:10:58 | |
And, um... So by the time the second one came, | 0:10:58 | 0:11:01 | |
we all kind of relaxed a little bit and fell into a flow. | 0:11:01 | 0:11:05 | |
And on my number, man, I just... | 0:11:05 | 0:11:08 | |
'I got happy! I just jumped up and ran across the stage!' | 0:11:08 | 0:11:13 | |
HE LAUGHS 'And Phil Spector was in the trunk. | 0:11:13 | 0:11:16 | |
'He said, "Where did he go?! Where did he go?!" | 0:11:16 | 0:11:20 | |
'The band was jamming and it was pumping, the people were with us! | 0:11:20 | 0:11:24 | |
'You know, I just had to rejoice.' | 0:11:24 | 0:11:26 | |
# That's the way... Come on! ..God planned it! | 0:11:26 | 0:11:30 | |
# That's the way God wants it to be | 0:11:30 | 0:11:33 | |
BACKING SINGERS: # That's the way! | 0:11:39 | 0:11:41 | |
MUSIC REACHES A CRESCENDO, THEN STOPS | 0:11:56 | 0:11:59 | |
A couple of numbers from Leon. | 0:12:01 | 0:12:03 | |
The thing I remember about it was I thought I would be real nervous. | 0:12:05 | 0:12:09 | |
I got up there and it was so relaxing, | 0:12:09 | 0:12:11 | |
cos all these huge stars were all there. | 0:12:11 | 0:12:15 | |
And I was just sort of there. All the pressure wasn't on me. | 0:12:15 | 0:12:21 | |
But I didn't do anything but show up and sing. | 0:12:21 | 0:12:25 | |
# I was born in a cross-fire hurricane | 0:12:25 | 0:12:30 | |
# And I howled at my mama in the driving rain! | 0:12:31 | 0:12:36 | |
# But it's all right now | 0:12:38 | 0:12:42 | |
# In fact, it's a gas! | 0:12:42 | 0:12:44 | |
# But it's all right, yeah | 0:12:44 | 0:12:48 | |
# I'm Jumpin' Jack Flash It's a gas, gas, gas! | 0:12:48 | 0:12:52 | |
# Whoa-oh! | 0:12:57 | 0:13:00 | |
# Whoa-oh! | 0:13:11 | 0:13:13 | |
# Whoa-oh! | 0:13:15 | 0:13:16 | |
# Whoa-oh! | 0:13:18 | 0:13:21 | |
# Whoa-oh! | 0:13:21 | 0:13:24 | |
# Yeah, but it's all right now | 0:13:24 | 0:13:29 | |
# In fact, it's a gas! | 0:13:29 | 0:13:31 | |
# It's all right, yeah! | 0:13:31 | 0:13:35 | |
# I'm Jumpin' Jack Flash It's a gas, gas, gas, yeah... # | 0:13:35 | 0:13:39 | |
It was just one high-level experience from beginning to end. | 0:13:39 | 0:13:44 | |
The thing that I remember in rehearsal was... | 0:13:46 | 0:13:51 | |
it was just a question of trying to pick up stuff that everyone knew. | 0:13:51 | 0:13:56 | |
# But it's all right now | 0:13:58 | 0:14:02 | |
# In fact, it's a gas! | 0:14:02 | 0:14:05 | |
# But it's all right, yeah | 0:14:05 | 0:14:08 | |
# I'm Jumpin' Jack Flash It's a gas, gas, gas! | 0:14:08 | 0:14:12 | |
# Whoa-oh! # | 0:14:17 | 0:14:19 | |
A lot of the very last-minute logistics | 0:14:44 | 0:14:47 | |
happened in the last two weeks before the concert. | 0:14:47 | 0:14:51 | |
We had booked rehearsal halls at Carnegie Hall. | 0:14:51 | 0:14:56 | |
Above Carnegie Hall, we had a big rehearsal hall booked. | 0:14:56 | 0:15:00 | |
I was basically the concert producer. | 0:15:00 | 0:15:02 | |
I was the production manager of staging it. | 0:15:02 | 0:15:08 | |
And so most of the musicians didn't gather until | 0:15:10 | 0:15:14 | |
literally seven days before the concert. | 0:15:14 | 0:15:17 | |
GEORGE GIVES ORDERS TO CREW, THE BAND TUNE UP | 0:15:20 | 0:15:24 | |
The most obvious missing person was Eric Clapton. | 0:15:36 | 0:15:40 | |
MUSIC: "While My Guitar Gently Weeps" | 0:15:40 | 0:15:44 | |
'We had him booked on every flight out of London to New York for about seven days. | 0:15:47 | 0:15:53 | |
'We were told, "He's on this flight!" | 0:15:53 | 0:15:55 | |
'We'd go to the airport and he wasn't there.' | 0:15:55 | 0:15:57 | |
By the third day, George was getting a little anxious that he wouldn't have a guitar player. | 0:15:57 | 0:16:02 | |
And by the fourth day, word must've been getting out. | 0:16:02 | 0:16:06 | |
Cos all of a sudden, a lot of guitar players started showing up in the lobby | 0:16:06 | 0:16:11 | |
at the Park Lane Hotel in New York, where we were staying. | 0:16:11 | 0:16:15 | |
And George figured, "I gotta get somebody." | 0:16:15 | 0:16:19 | |
So he hired Jesse Ed Davis, who had been in Taj Mahal's band. | 0:16:19 | 0:16:23 | |
'With Jesse E Davis being an optimist - | 0:16:23 | 0:16:27 | |
'he's carrying his guitar and amplifier, hanging around. | 0:16:27 | 0:16:30 | |
'So we said, "Right!" | 0:16:30 | 0:16:32 | |
'And Klaus Voormann, who was playing the bass in the concert. | 0:16:32 | 0:16:36 | |
'He volunteered just to run through all the tunes, | 0:16:36 | 0:16:39 | |
'so we'd at least have another guitar player.' | 0:16:39 | 0:16:43 | |
'We'd sent a telex to Apple in London - | 0:16:43 | 0:16:46 | |
'in those days, you still were using a telex - | 0:16:46 | 0:16:49 | |
to tell Eric he wasn't needed. | 0:16:49 | 0:16:51 | |
And of course, Terry went out to tell him and he said, "I'm coming!" | 0:16:51 | 0:16:55 | |
'And he played great - no rehearsal at all. | 0:16:55 | 0:16:58 | |
'I mean, Eric is just a gem.' | 0:16:58 | 0:17:00 | |
MUSIC SLOWLY STOPS, CROWD CHEERS | 0:18:15 | 0:18:19 | |
I made it really hard for myself. That guitar is not the right guitar | 0:18:19 | 0:18:25 | |
to play that kind of song on. I should've used the fender | 0:18:25 | 0:18:28 | |
or a solid Gibson or something, not a semi-acoustic. | 0:18:28 | 0:18:32 | |
I made it really difficult for myself. | 0:18:32 | 0:18:35 | |
But that was because I was in another world. Not really there. | 0:18:35 | 0:18:40 | |
And I had been in a period of retirement, shall we say, | 0:18:40 | 0:18:46 | |
for quite a long time - maybe about 2½ years. | 0:18:46 | 0:18:48 | |
And I think I went to a rehearsal the day before the gig | 0:18:48 | 0:18:52 | |
and couldn't make it, I was in such bad shape. | 0:18:52 | 0:18:55 | |
And I showed up, I think, for the sound check. | 0:18:55 | 0:18:58 | |
# Yeah, the woman I love | 0:18:58 | 0:19:00 | |
# Left with my best friend | 0:19:00 | 0:19:04 | |
# But some joker got lucky | 0:19:04 | 0:19:06 | |
# And stole her right back again. | 0:19:06 | 0:19:09 | |
# I said you'd better come on in my kitchen | 0:19:10 | 0:19:15 | |
# Cos it's gonna be raining outdoors... # | 0:19:15 | 0:19:19 | |
For me to get on a plane to go to New York | 0:19:19 | 0:19:23 | |
was a very difficult thing for me, especially with my circumstances... | 0:19:23 | 0:19:28 | |
I saw myself as a bit of a squire amongst knights, you know. | 0:19:28 | 0:19:32 | |
But I really made the extra effort, | 0:19:32 | 0:19:35 | |
mainly because of all these people who showed up | 0:19:35 | 0:19:39 | |
and we're gonna do this thing and it was outside of the normal line of duty, really. | 0:19:39 | 0:19:45 | |
And I think, you know, the fact that George took a risk | 0:19:45 | 0:19:48 | |
just assembling the whole thing and making it make sense. | 0:19:48 | 0:19:52 | |
All for this cause - it was a bit move, yeah. | 0:19:52 | 0:19:55 | |
To my mind, it took a lot of humility for George, | 0:19:55 | 0:20:00 | |
at this stage in his life, you know, when, er... | 0:20:00 | 0:20:03 | |
The Beatles had split up, he'd had a huge hit album with All Things Must Pass. | 0:20:03 | 0:20:08 | |
He'd never fronted a big show like that before. | 0:20:08 | 0:20:12 | |
This was the first time ever for him. | 0:20:12 | 0:20:14 | |
'So it took a lot of humility on his part, | 0:20:14 | 0:20:18 | |
'to be able to call around and get people to do him favours. | 0:20:18 | 0:20:23 | |
'With the obvious risk, you know, of, er...being turned down.' | 0:20:23 | 0:20:29 | |
# If not for you | 0:20:31 | 0:20:33 | |
# Winter would hold no spring | 0:20:35 | 0:20:37 | |
# Couldn't hear the robin sing | 0:20:39 | 0:20:41 | |
# I just wouldn't have a clue | 0:20:42 | 0:20:45 | |
# If not for you... # | 0:20:46 | 0:20:48 | |
'My relationship with Bob was... | 0:20:48 | 0:20:50 | |
'You know, I just always tried to be straight with him and, you know, he responded.' | 0:20:50 | 0:20:56 | |
Bob would come in and rehearse with the band what songs he was gonna do, | 0:20:56 | 0:21:02 | |
'and so, it was really a matter of working it out at the last minute.' | 0:21:02 | 0:21:08 | |
# If not for you my sky would fall! | 0:21:10 | 0:21:13 | |
# Rain would gather too | 0:21:14 | 0:21:15 | |
# Without your love I'd be nowhere at all | 0:21:17 | 0:21:20 | |
# I'd be lost if not for you | 0:21:20 | 0:21:23 | |
# If not for you | 0:21:29 | 0:21:31 | |
# Winter would hold no spring... # | 0:21:33 | 0:21:35 | |
'Right up until the moment he stepped on the stage, it was not sure he was coming. | 0:21:35 | 0:21:40 | |
'Cos the night before we went to Madison Square Garden, | 0:21:40 | 0:21:43 | |
'he saw all these cameras and microphones and this huge place, | 0:21:43 | 0:21:47 | |
'and he was saying, "Hey, man, this isn't my scene. I can't make this." | 0:21:47 | 0:21:51 | |
'By that time, I'd had so much on my plate, trying to get it organised. | 0:21:51 | 0:21:56 | |
'And I was saying, "It's not my scene either. | 0:21:56 | 0:21:58 | |
' "I don't do this every day. In fact, this is the first time I've done anything on my own. | 0:21:58 | 0:22:03 | |
' "You at least have been a solo artist for years." | 0:22:03 | 0:22:06 | |
'So, on stage, I had a little list on my guitar | 0:22:06 | 0:22:09 | |
'and I had the point where... where it said | 0:22:09 | 0:22:12 | |
'after Here Comes The Sun, I've got "Bob" with a question mark. | 0:22:12 | 0:22:17 | |
'And it got to that point, and I looked around, | 0:22:17 | 0:22:21 | |
'to see if there was any indication that Bob was gonna come on or out.' | 0:22:21 | 0:22:25 | |
The stage was dark and I looked around, | 0:22:25 | 0:22:29 | |
and here's this guy in a jean jacket walking toward me, and I knew it was him. | 0:22:29 | 0:22:33 | |
'He was there and was so nervous - his harmonica on, his guitar in his hand. | 0:22:33 | 0:22:38 | |
'He was walking on stage, it was like, "Now or never!" And so, I just say...' | 0:22:38 | 0:22:42 | |
I'd like to bring on a friend of us all - Mr Bob Dylan. | 0:22:42 | 0:22:46 | |
HUGE CHEER FROM THE CROWD | 0:22:46 | 0:22:48 | |
HE TUNES UP | 0:22:59 | 0:23:01 | |
MUSIC: "Just Like A Woman" | 0:23:20 | 0:23:23 | |
# Nobody | 0:23:31 | 0:23:34 | |
# Feels any pain | 0:23:34 | 0:23:37 | |
# Tonight | 0:23:38 | 0:23:40 | |
# As I stand inside the rain | 0:23:40 | 0:23:43 | |
# Everybody knows | 0:23:46 | 0:23:49 | |
# That baby's got new clothes | 0:23:49 | 0:23:52 | |
# But lately | 0:23:52 | 0:23:54 | |
# I see her ribbons and her bows | 0:23:54 | 0:23:58 | |
# Have fallen from her curls | 0:23:58 | 0:24:03 | |
# She takes | 0:24:04 | 0:24:07 | |
ALL: # Just like a woman | 0:24:07 | 0:24:10 | |
# And she waits | 0:24:11 | 0:24:14 | |
# Just like a woman | 0:24:14 | 0:24:17 | |
# Then she breaks | 0:24:18 | 0:24:21 | |
# Just like a woman | 0:24:21 | 0:24:24 | |
# But she breaks just like a little girl | 0:24:25 | 0:24:30 | |
# Queen Mary | 0:24:42 | 0:24:44 | |
# She's my friend | 0:24:44 | 0:24:47 | |
# Yes, I believe | 0:24:49 | 0:24:51 | |
# I'll go see her again | 0:24:51 | 0:24:54 | |
# Nobody has to guess | 0:24:56 | 0:24:59 | |
# That baby can't be blessed | 0:24:59 | 0:25:02 | |
# Now she sees finally | 0:25:02 | 0:25:06 | |
# That she's like all the rest | 0:25:06 | 0:25:09 | |
# With her fog | 0:25:09 | 0:25:11 | |
# Amphetamine and her pearls | 0:25:11 | 0:25:15 | |
# She takes | 0:25:15 | 0:25:18 | |
# Just like a woman | 0:25:18 | 0:25:22 | |
# And she breaks | 0:25:22 | 0:25:25 | |
# Just like a woman | 0:25:25 | 0:25:28 | |
# And she wakes | 0:25:29 | 0:25:31 | |
# Just like a woman | 0:25:31 | 0:25:34 | |
# But she breaks just like a little girl... # | 0:25:36 | 0:25:42 | |
I was on tambourine and Bob did his couple of numbers. | 0:25:46 | 0:25:49 | |
And...you know, we just sort of... It was a jammy sort of way, | 0:25:49 | 0:25:54 | |
but we just sort of played, it was 4/4. | 0:25:54 | 0:25:57 | |
HE HUMS THE TUNE | 0:25:57 | 0:25:59 | |
Then we all went to the hotel, came back for the second show, and we came to Bob's set. | 0:25:59 | 0:26:05 | |
And so we all get down, ready to do it. | 0:26:05 | 0:26:09 | |
It was very weird, so I looked over at Leon... | 0:26:09 | 0:26:13 | |
"Oh, it's... It's a waltz this time, boys! Let's go!" | 0:26:13 | 0:26:19 | |
MUSIC: "A Hard Rain's A-Gonna Fall" | 0:26:19 | 0:26:22 | |
# Oh, where have you been my blue-eyed son? | 0:26:22 | 0:26:27 | |
# Oh, where have you been my darling young one? | 0:26:27 | 0:26:30 | |
# I've stumbled on the side of 12 misty mountains | 0:26:33 | 0:26:37 | |
# I've walked and I've crawled on six crooked highways | 0:26:39 | 0:26:43 | |
# I've stepped in the middle of seven sad forests | 0:26:44 | 0:26:48 | |
# I've been out in front of a dozen dead oceans | 0:26:50 | 0:26:54 | |
# I've been ten thousand miles in the mouth of a graveyard | 0:26:56 | 0:26:59 | |
# It's a hard | 0:26:59 | 0:27:01 | |
# And it's a hard | 0:27:01 | 0:27:03 | |
# It's a hard | 0:27:03 | 0:27:05 | |
# And it's a hard | 0:27:05 | 0:27:07 | |
# It's a hard rain's a-gonna fall | 0:27:07 | 0:27:10 | |
# Oh, what did you see my blue-eyed son? | 0:27:12 | 0:27:16 | |
# And what did you see my darling young one? | 0:27:17 | 0:27:21 | |
# I saw a newborn baby with wild wolves all around it | 0:27:23 | 0:27:27 | |
# I saw a highway of diamonds with nobody on it | 0:27:27 | 0:27:32 | |
# I saw a black branch with blood that kept drippin' | 0:27:32 | 0:27:36 | |
# I saw a room full of men with their hammers a-bleedin' | 0:27:36 | 0:27:41 | |
# I saw a white ladder all covered with water | 0:27:41 | 0:27:46 | |
# I saw 10,000 talkers whose tongues were all broken | 0:27:46 | 0:27:50 | |
# It's a hard | 0:27:50 | 0:27:52 | |
# It's a hard | 0:27:52 | 0:27:54 | |
# It's a hard | 0:27:54 | 0:27:55 | |
# It's a hard | 0:27:55 | 0:27:57 | |
# It's a hard rain's a-gonna fall... # | 0:27:57 | 0:28:01 | |
The Concert For Bangladesh came along at a moment | 0:28:01 | 0:28:04 | |
at which the rock'n'roll scene had been dispirited. | 0:28:04 | 0:28:08 | |
A number of things that happened that made you think maybe the life was going out of it. | 0:28:08 | 0:28:13 | |
Or it was kind of drifting. I mean, there were the prominent deaths of Jimi Hendrix and Janis Joplin, | 0:28:13 | 0:28:18 | |
which suggested the drug scene was too heavy. | 0:28:18 | 0:28:21 | |
Altamont had happened only 18 months earlier, I think. | 0:28:21 | 0:28:26 | |
Er...Bob had not put out a record in a long time. | 0:28:26 | 0:28:30 | |
So the kind of leading voices of rock'n'roll were still or quiet - it was a moment of drift. | 0:28:30 | 0:28:36 | |
And then to see something come along like this, which had such a purpose, a spirit, | 0:28:36 | 0:28:41 | |
and The Beatles had broken up and that was really depressing. | 0:28:41 | 0:28:45 | |
The collapse of the sixties philosophy | 0:28:45 | 0:28:48 | |
sort of seemed to be starting around that time. | 0:28:48 | 0:28:52 | |
It had a lot to do with... What I was going through was very indicative of that. | 0:28:52 | 0:28:57 | |
But it was only... From where I looked at it, | 0:28:57 | 0:29:00 | |
it was only towards the end of the sixties that hard drugs | 0:29:00 | 0:29:04 | |
got really involved in the music industry and the entertainment world. | 0:29:04 | 0:29:08 | |
So it seemed like that was killing the dream. | 0:29:08 | 0:29:12 | |
All sorts of things had been written about | 0:29:12 | 0:29:15 | |
what the music stands for at its best and its highest, | 0:29:15 | 0:29:19 | |
what the generation should stand for, you know - peace and love and all these things. | 0:29:19 | 0:29:23 | |
And here it was, in actual real truth and fact. | 0:29:23 | 0:29:27 | |
And, er...it couldn't have made you feel better | 0:29:27 | 0:29:31 | |
or more proud of...of music. | 0:29:31 | 0:29:35 | |
Friends... | 0:29:35 | 0:29:37 | |
We are trying to set the music to this special event, | 0:29:37 | 0:29:41 | |
this historical programme, which is just not a programme as usual, | 0:29:41 | 0:29:46 | |
but which has a message. | 0:29:46 | 0:29:49 | |
We are not trying to make any politics, we are artists, | 0:29:49 | 0:29:55 | |
but through our music, we would like you to feel the agony | 0:29:55 | 0:30:01 | |
and also the pain | 0:30:01 | 0:30:03 | |
and lot of sad happenings in Bangladesh | 0:30:03 | 0:30:09 | |
and also the refugees who have come to India. | 0:30:09 | 0:30:13 | |
Thank you very much. | 0:30:13 | 0:30:16 | |
The Indian instruments are very sensitive. | 0:30:16 | 0:30:19 | |
And with the strong lights, it does effect them. | 0:30:19 | 0:30:25 | |
'Sometimes, the strings were a little out of tune, | 0:30:25 | 0:30:29 | |
'so it took about a minute and a half or so to properly tune them. | 0:30:29 | 0:30:35 | |
'And after we finished tuning, we were silent, | 0:30:35 | 0:30:39 | |
-'and there was tremendous clapping.' -CROWD CHEERS | 0:30:39 | 0:30:42 | |
Thank you. Since you appreciate the tuning so much, | 0:30:46 | 0:30:48 | |
I hope you enjoy the playing more. Thank you. | 0:30:48 | 0:30:52 | |
Many of them, who were new to our music, | 0:30:55 | 0:30:57 | |
I suppose they thought that was an item. | 0:30:57 | 0:31:00 | |
STRINGS AND PERCUSSION PLAY | 0:31:00 | 0:31:03 | |
MUSIC STOPS, CROWD CHEERS | 0:32:38 | 0:32:41 | |
'It was such a unique thing. | 0:32:41 | 0:32:44 | |
'Everybody was so moved. | 0:32:44 | 0:32:47 | |
'But it had a special meaning apart from this performance.' | 0:32:47 | 0:32:52 | |
Overnight, everybody knew the name of Bangladesh all over the world, | 0:32:52 | 0:32:58 | |
because it came out in all the newspapers everywhere, | 0:32:58 | 0:33:02 | |
so it had a tremendous value, didn't it? | 0:33:02 | 0:33:05 | |
I think the awareness is maybe even more important than the money, | 0:33:05 | 0:33:09 | |
because again, even if we make 5 million, | 0:33:09 | 0:33:13 | |
it's still small compared to the size of the problem, | 0:33:13 | 0:33:17 | |
so it's more important to bring the awareness to a mass of people. | 0:33:17 | 0:33:22 | |
HE PLAYS THE GUITAR INTO TO: "Here Comes The Sun" | 0:33:27 | 0:33:30 | |
CROWD CHEERS AND APPLAUDS | 0:33:30 | 0:33:33 | |
# Here comes the sun Doo-de Doo-doo | 0:33:41 | 0:33:44 | |
# Here comes the sun | 0:33:44 | 0:33:46 | |
# And I say it's all right | 0:33:46 | 0:33:49 | |
# Little darlin' | 0:33:53 | 0:33:55 | |
# It's been a long cold lonely winter | 0:33:55 | 0:33:59 | |
# Little darlin' | 0:34:00 | 0:34:02 | |
# It seems like years since it's been here | 0:34:02 | 0:34:06 | |
# Here comes the sun | 0:34:07 | 0:34:09 | |
# Here comes the sun | 0:34:10 | 0:34:12 | |
# And I say it's all right | 0:34:12 | 0:34:15 | |
# Little darlin' | 0:34:22 | 0:34:24 | |
# The smiles returning to their faces... # | 0:34:24 | 0:34:28 | |
'Well, they got the money from the concert. | 0:34:30 | 0:34:32 | |
'From the two shows, it was 250,000. | 0:34:32 | 0:34:35 | |
'I mean, just on the gate for Madison Square Garden, it beat Ravi's 20,000.' | 0:34:36 | 0:34:41 | |
What the Concert For Bangladesh did was to provide an additional infusion | 0:34:44 | 0:34:50 | |
of resources, so that UNICEF would be using those resources | 0:34:50 | 0:34:54 | |
to buy the food supplements and other equipment that was needed. | 0:34:54 | 0:34:58 | |
It also helped with some of the real pioneering work in treating cholera... | 0:34:58 | 0:35:05 | |
and oral rehydration solution - | 0:35:05 | 0:35:07 | |
sugar and salt with a little bit of potassium put into water. | 0:35:07 | 0:35:13 | |
You give that to child, and it dramatically increases their absorptive capacity. | 0:35:13 | 0:35:18 | |
# Sun, sun, sun Here it comes... # | 0:35:18 | 0:35:22 | |
It was a great thing that can be done. | 0:35:22 | 0:35:25 | |
And it was the first of its kind which set an example. | 0:35:25 | 0:35:30 | |
# Little darlin' | 0:35:30 | 0:35:32 | |
# I see the ice is slowly meltin' | 0:35:32 | 0:35:36 | |
# Little darlin', it seems like years since it's been clear | 0:35:37 | 0:35:43 | |
# Here come the sun Doo-de, doo-doo | 0:35:45 | 0:35:48 | |
# Here comes the sun | 0:35:48 | 0:35:50 | |
# It's all right | 0:35:52 | 0:35:53 | |
# Here come the sun Doo-de, doo-doo | 0:35:57 | 0:36:00 | |
# Here comes the sun | 0:36:00 | 0:36:02 | |
# It's all right | 0:36:04 | 0:36:05 | |
# It's all right. # | 0:36:09 | 0:36:10 | |
MUSIC STOPS, CROWD CHEERS | 0:36:16 | 0:36:19 | |
Bangladesh was important, and it was the first... | 0:36:19 | 0:36:23 | |
..huge show for charity with a mass ensemble. | 0:36:25 | 0:36:33 | |
And it showed that musicians can make a difference if they work together. | 0:36:33 | 0:36:38 | |
And before that, it had always been everybody on their own. | 0:36:38 | 0:36:42 | |
Everybody would come out, do their set, then go off, | 0:36:42 | 0:36:45 | |
but to see guys working together really made a statement. | 0:36:45 | 0:36:49 | |
MUSIC: "My Sweet Lord" | 0:36:49 | 0:36:52 | |
CROWD CHEERS | 0:36:52 | 0:36:55 | |
Hare Krishna. | 0:36:58 | 0:37:00 | |
# My sweet Lord | 0:37:18 | 0:37:19 | |
# Hm, my Lord... # | 0:37:21 | 0:37:24 | |
Since then, there have been hundreds of special programmes | 0:37:24 | 0:37:30 | |
raising funds for different calamities happening in different places of the world. | 0:37:30 | 0:37:37 | |
All the musicians, they got an inspiration - | 0:37:37 | 0:37:41 | |
an idea from the Bangladesh concert. | 0:37:41 | 0:37:45 | |
It was an immense success artistically, | 0:37:45 | 0:37:48 | |
and I'll use the word spiritually, | 0:37:48 | 0:37:50 | |
because he decided | 0:37:50 | 0:37:53 | |
he would use this great ability he had for another reason. | 0:37:53 | 0:37:58 | |
# Really want to go with you | 0:37:59 | 0:38:01 | |
# Really want to show, you Lord | 0:38:01 | 0:38:05 | |
-# That it won't take long, my Lord -(Hallelujah!) | 0:38:05 | 0:38:09 | |
-# My sweet Lord -(Hallelujah!) | 0:38:09 | 0:38:13 | |
-# Hm, my Lord -(Hallelujah!) | 0:38:13 | 0:38:17 | |
-# My sweet Lord -(Hallelujah!) | 0:38:17 | 0:38:21 | |
# I really want to see you... # | 0:38:21 | 0:38:23 | |
'The musicians were great. | 0:38:23 | 0:38:26 | |
'I mean, they completely put down their own egos to play together | 0:38:26 | 0:38:31 | |
'and to do something, because the whole vibe of that concert | 0:38:31 | 0:38:34 | |
'was that it was something bigger than the lot of us.' | 0:38:34 | 0:38:38 | |
Individuals look at problems in the world | 0:38:38 | 0:38:42 | |
and find them to be of such a scale and so far away, um... | 0:38:42 | 0:38:47 | |
as to really... It ends up making them feel there's nothing they can do about it. | 0:38:47 | 0:38:54 | |
And I think every generation has to be reminded that that simply is not the case. | 0:38:54 | 0:39:00 | |
'There was a lot of kids and just general public, | 0:39:00 | 0:39:03 | |
'who - having had the inspiration to go and do something - | 0:39:03 | 0:39:08 | |
'all started collecting money and donating things. | 0:39:08 | 0:39:11 | |
'There was a lot of people who gave a lot of money | 0:39:11 | 0:39:13 | |
'and collected on the streets and were banging on UNICEF doors, saying, "What can we do to help?" | 0:39:13 | 0:39:19 | |
When you have the kind of assemblage of popular people, | 0:39:19 | 0:39:25 | |
like George and the others that were with him, | 0:39:25 | 0:39:28 | |
and that concert goes around the world, and the album is selling and selling. | 0:39:28 | 0:39:33 | |
That also moves other leaders to say, "What are we doing? | 0:39:33 | 0:39:37 | |
"Are we on the right side on this Bangladesh issue?" | 0:39:37 | 0:39:41 | |
That sense of one world, a better world, | 0:39:41 | 0:39:45 | |
providing the basis for a better world through music. | 0:39:45 | 0:39:48 | |
All of that may sound wild and woolly today, but it wasn't. | 0:39:48 | 0:39:52 | |
If you were living in the mid-sixties and you understood the way the world was going, | 0:39:52 | 0:39:56 | |
everything seemed better, it all felt better. | 0:39:56 | 0:39:59 | |
We would actually have a better world. | 0:39:59 | 0:40:02 | |
We would deal with Africa, we would deal with poverty. | 0:40:02 | 0:40:05 | |
George never gave up hoping, never, ever, ever - even the very last time I saw him - | 0:40:05 | 0:40:10 | |
never gave up hoping that the dreams of the sixties could be realised. | 0:40:10 | 0:40:13 | |
'For people who had that talent,' | 0:40:13 | 0:40:16 | |
to be able to use it to reach out, | 0:40:16 | 0:40:18 | |
to the public and to their fans, and to raise awareness. | 0:40:18 | 0:40:22 | |
It was a groundbreaking event. | 0:40:22 | 0:40:24 | |
And since then, of course, it's become very common. | 0:40:24 | 0:40:28 | |
But in those days, it was quite unique and quite daring. | 0:40:28 | 0:40:33 | |
And, um...they were pioneers. | 0:40:33 | 0:40:36 | |
MUSIC STOPS, CROWD CHEERS | 0:40:42 | 0:40:45 | |
These things will always be remembered as... | 0:40:45 | 0:40:49 | |
times that we could be proud of, being musicians. | 0:40:49 | 0:40:52 | |
We actually weren't just thinking of ourselves for five minutes. | 0:40:52 | 0:40:56 | |
We were doing something for a bigger issue. | 0:40:56 | 0:40:58 | |
-CROWD CHEERS -Thank you very much. | 0:40:58 | 0:41:00 | |
And we need that, you know. | 0:41:00 | 0:41:02 | |
CROWD: More! More! | 0:41:02 | 0:41:05 | |
'When you look at the words of the song...' | 0:41:05 | 0:41:08 | |
"My friend came to me with sadness in his eyes, | 0:41:08 | 0:41:12 | |
"and said, 'Help me before my country dies.' " | 0:41:12 | 0:41:16 | |
'It also portrays the man behind the music.' | 0:41:16 | 0:41:19 | |
# My friend came to me | 0:41:19 | 0:41:23 | |
# With sadness in his eyes | 0:41:23 | 0:41:26 | |
# He told me that he wanted help | 0:41:27 | 0:41:30 | |
# Before his country dies | 0:41:30 | 0:41:33 | |
# Although I couldn't feel the pain | 0:41:36 | 0:41:39 | |
# I knew I had to try | 0:41:39 | 0:41:42 | |
# Now I'm asking all of you | 0:41:43 | 0:41:46 | |
# To help us save some lives | 0:41:46 | 0:41:50 | |
# Bangladesh | 0:41:56 | 0:41:59 | |
# Bangladesh | 0:41:59 | 0:42:02 | |
# Where so many people | 0:42:03 | 0:42:05 | |
# Are dying fast and it sure looks like a mess | 0:42:05 | 0:42:10 | |
# I've never seen such distress | 0:42:12 | 0:42:16 | |
# Now won't you lend your hand and try to understand? | 0:42:17 | 0:42:22 | |
# We've got to relieve Bangladesh | 0:42:22 | 0:42:26 | |
# Bangladesh | 0:42:28 | 0:42:30 | |
# Bangladesh | 0:42:30 | 0:42:32 | |
# Such a great disaster | 0:42:34 | 0:42:36 | |
# I don't understand But it sure looks like a mess | 0:42:36 | 0:42:41 | |
# I've never known such distress | 0:42:43 | 0:42:46 | |
# Please don't turn away I want to hear you say | 0:42:48 | 0:42:52 | |
# Relieve the people of Bangladesh | 0:42:52 | 0:42:56 | |
# We got to relieve Bangladesh | 0:43:20 | 0:43:25 | |
# Bangladesh | 0:43:26 | 0:43:28 | |
# Bangladesh | 0:43:28 | 0:43:31 | |
# Now it may seem so far from where we all are | 0:43:32 | 0:43:37 | |
# It's something we can't neglect | 0:43:37 | 0:43:39 | |
# It's something I can't neglect | 0:43:41 | 0:43:44 | |
# Now won't you give some bread to get the starving fed? | 0:43:46 | 0:43:51 | |
# We've got to relieve Bangladesh | 0:43:51 | 0:43:55 | |
# Relieve the people of Bangladesh | 0:44:00 | 0:44:04 | |
# We've got to relieve Bangladesh | 0:44:09 | 0:44:14 | |
# Relieve the people of Bangladesh. # | 0:44:37 | 0:44:42 | |
CROWD CHEERS | 0:44:50 | 0:44:52 | |
Subtitles by Red Bee Media 2005 | 0:45:04 | 0:45:06 | |
E-mail [email protected] | 0:45:06 | 0:45:09 |