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Going to Montserrat
was like going into a dream.

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It's always different.

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Reality's always different
from what you think it will be.

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I love the idea of wilderness
on the edge of civilization.

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I think the volcano itself is a kind
of presiding spirit over the island,

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and it definitely gives you a sense

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that you're living
on the edge of something seismic.

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When the volcano went off,
that was a pinnacle point of change.

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A point where nothing was ever
gonna be quite the same again.

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In the way we recorded,
in the way that music was dealt with.

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Those magical moments
are gonna be no longer.

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It was a glorious dream
that George Martin had.

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And it's so sad, as always,

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to see a glorious dream come to an end
and be destroyed.

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It's Atlantis now, isn't it?

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(♪ "HOT HOT HOT" BY ARROW)

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♫ Ole, ole, ole, ole

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♫ Ole, ole, ole, ole

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<i>3 Feeling hot, hot, hot</i>

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<i>3 Feeling hot, hot, hot</i>

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VYE ROBINSON: Montserrat's in the
Caribbean. It's very close to Antigua.

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But because it's so small,
it really is that hidden gem.

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They used to call it the Hidden Gem
and the Emerald Isle of the Caribbean.

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Montserrat was colonized by the Irish.
That's why the island is so different

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because it's just a really friendly
place, it's just got a magic about it.

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4 Keep your spirit,
come on, let's do it!

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<i>3 Feeling hot, hot, hot</i>

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DESMOND RILEY:
We had one big superstar.

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Mighty Arrow. Everybody around the
world would know Arrow, Hot Hot Hot.

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That's our music.
We call it soca music.

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JUSTIN "HERO" CASSELL:
Soca is a hybrid of calypso music.

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Calypso music originated in Nigeria
and came to the West Indies.

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These islands, you know,
they were part of the slave trade.

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And then you had the calypso carnivals.

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I Keep people rockin'

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MINETTA ALLEN FRANCIS:
Montserrat is just a lovely place.

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There is an atmosphere in Montserrat

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that just makes you want to live
in Montserrat.

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MIDGE URE: There was no doubt
there was a magic on Montserrat.

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This island was kind of untouched.

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There were no big corporate signs
for chain restaurants.

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And here was no American money in there,

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just these old shacks and tin roofs,

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and brightly colored
and painted beautifully.

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And you felt
as though you were in a time warp.

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This little island had a heart
that you could feel, you know?

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KNOPFLER: It didn't have the
sophistication you'd feel straight away

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if you went to Antigua
or anywhere else like that.

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It was far more innocent,
far more quiet.

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STING: There's definitely a mystique
about the island.

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It's quite a place, actually.
It's really dramatic.

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These, you know, very sheer cliffs.

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And, of course,
the fertility of the island

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is a function of this volcanic ash
that comes down periodically.

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It hadn't come down for a long time,

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but the island was blooming
and blossoming, everything grew.

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I often wonder why George Martin
chose a volcanic island

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to put his beautiful studio on.

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(BIG BEN CHIMES)

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Originally, Dad, he was a mad visionary
in lots of ways.

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I think always liked the idea
of pushing boundaries.

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Think about what he did
with the Beatles in the '60s.

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He pushed the boundaries
with the recording studios.

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He wanted to do something different.

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I bust a string straight away.

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(RUNS FINGERS UP KEYBOARD)

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There were some great moments singing,
Paul, but it wasn't the one.

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It's the second one
out of every three is the one.

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Do you want to hear any of it before you
do any more or go straight for another?

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JOHN LENNON: They either say
that George Martin did everything

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or the Beatles did everything.
It was neither one, you know?

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He had a very great musical knowledge
and background.

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So he could translate for us
and suggest a lot of things.

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We'd be saying we want it to go...

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000-000 and eee-eee.

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He'd say, "Well, look, chaps,
I thought of this this afternoon.

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Last night, I was talking to..."
whoever he was talking to.

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"And I came up with this."

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And we'd say,
"Great. Great. We'll put it on here."

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It's hard to say who did what, you know?

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I mean, he taught us a lot.
I'm sure we taught him a lot.

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GERRY BECKLEY: A record producer
is not like a film producer.

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A record producer
is much more like a film director.

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One thing that was unique to George
that a lot of producers didn't have

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is that he was also the arranger.

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That's very often a completely
different person, different element.

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In George's case,
his work as an arranger

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would be, for example, the strings
in Eleanor Rigby or something.

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If you think of some
of the famous producers of our time,

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the wall of sound, Phil Spector,

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where he controlled
every note of every instrument

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and was just a tyrant and stuff,
George was not at all like that.

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But there was a serious element

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of just kind of good Pythonesque
British crazy in there.

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Just a lovely combination.

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(& "THREE AMERICAN SKETCHES:
II. OLD BOSTON" BY GEORGE MARTIN)

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He knew how to get from you
the best that you could give.

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Which was extraordinary,
in the most wonderful way.

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Elegant, gentlemanly,
loving, nurturing way.

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He would make any musician
a much better musician

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by spending five minutes with them.

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You can put a very soft flute
against a huge brass chord

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and still make it sound loud.

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And then cut up the tape,
threw it up in the air,

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until it settled down on the ground,
and joined them up again together.

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So it just became
like a patchwork quilt.

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This is the kind of thing
you can do on a recording,

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which you obviously
couldn't possibly do it live

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because it is making up music
as you go along.

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He's largely responsible,
along with the Beatles,

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for giving everybody
that came after them in music a career.

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What the Beatles did with their albums,
no one will ever top that.

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<i>NEWSREEL: It is a moment in history
that may one day be known</i>

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as the day
the British Empire was no more.

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The Beatles have decided
to call it a day.

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BECKLEY: Well, a lot of things
happened at that time.

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Obviously, the Beatles broke up,
and so, George was free from EMI.

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So I guess he became his own boss.

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But frankly, if you're known
as the Beatles' producer,

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anything you do after that,

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it's virtually impossible
to get anywhere near that.

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GILES MARTIN: I think my dad
was tired of the confines

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of a very rigid company structure,

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which was Abbey Road,
or EMI Studios as it was at the time.

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And he wanted to build a place
which was more artist friendly.

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Abbey Road
obviously created great music,

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but they always found...

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I mean, the fridge
was locked every night.

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They had to break in to get milk
for their cups of tea.

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Even the loo roll had Abbey Road on it,
so you wouldn't steal it.

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It was very much a...
It was like a proper English factory.

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MALCOLM ATKIN: There's no doubt
in my mind that George had a vision

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of how recording
could or should be done.

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Through the '70s was a period
of great excess in the music business.

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Um, it was an era when
there wasn't such a thing as a budget.

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There was a need to make some music.

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COOPER: The '70s
was one of the most exciting periods

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in musical recording time.

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And a few times,
I've been in EMI, Abbey Road,

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and normally I would bump into George,
but he wasn't there.

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And I wondered what was going on,
and they said,

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"He's making his own studio now.
AIR London it's gonna be called.”

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' Will you meet me in the middle?

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I Will you meet me in the air?

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DAVE HARRIES: We had four studios.

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Oxford Circus,
right in the middle of town.

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And it was so successful,
you know, it was a hit factory.

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(♫ "SISTER GOLDEN HAIR" BY AMERICA)

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There's a momentum shift
which happens with successful studios.

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But I think my dad
wanted to do something different

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in the recording space.

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He wanted to record
in a different location.

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Then he built AIR
and he thought, "Where next?"

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George was looking for something,
you know,

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which wasn't in the middle of London.

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Somewhere where the people
could come and record,

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and his plan was
there'd be a lack of hangers-on.

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It would just be them
and their families.

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HARRIES: Then he had an idea
that he would put a studio on a boat.

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He had a boat in line,
which we went and looked at,

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a great big, big boat, and we were
going to put a studio in the middle

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so we could go to anywhere in the world
and record people.

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Then he realized that just the diesel
generators would make a noise

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in every single recording he made.

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So then he looked at islands,
looked at Island Paradise,

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looked at that idea about
building a studio and found Montserrat.

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HARRIES: And suddenly,
he comes up to me and says,

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"Dave, we're flying out to Montserrat.
I want to show you something.

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I've just bought a house
and I've bought an estate,

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and I want you to build a studio there."

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I'd read about Montserrat
in a Canadian magazine.

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They described it,
"The Emerald Isle of the Caribbean."

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So, I went there for a few days
and fell in love with the place,

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and with the people,
because they're such gentle people.

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And I loved it so much,
I bought a place, simple as that.

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KNOPFLER: Montserrat, for George,
was something more

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than just a commercial operation.

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He'd fallen in love with Montserrat.

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And he had something else in his mind,

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just to be able to tie in creativity
with being in a special place.

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COOPER: George's idea was
to take people out of an environment,

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to put them into harmony with nature,

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but also have time together
to talk, to have dialogue.

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And what he knew would happen

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was that for a lot of bands
who had never been in that situation,

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that would evoke new ways of thinking,
and therefore, new musical ideas.

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If you look at Montserrat on a map
or had visited it

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at that stage in 1976, '77,

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you'd never think,
"Let's build a recording studios here."

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In the same way you start
building the studios, you don't think,

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"Let's get Rupert Neve to build
a custom desk and put it in this space.”

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HARRIES: The heart of any studio
is the mixing console.

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Geoff Emerick was quite involved
in what was gonna go on in Montserrat.

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So Geoff didn't want to use
a current type of Neve console.

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00:14:05.178 --> 00:14:07.388
So Rupert redesigned the desk.

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He said, "It will wipe everything else
off the planet, this desk."

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AIR Studios, part of AIR's fame

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was that it had these three
incredible-sounding Neve consoles.

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And they had one at AIR Montserrat.

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Neve desks, to me, it sounded musical.

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You could actually tune into something,

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you could bring out
the character of something.

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(UPBEAT MUSIC)

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GILES MARTIN: Putting a recording desk
in a studios

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00:14:39.462 --> 00:14:41.172
in a big city has its own problems.

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Putting a recording studio
on Montserrat,

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which really had no transport links
at all at that stage,

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was the ultimate challenge.

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And it was very brave of them, too,
because if something went really wrong,

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your closest port of call was Miami.

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00:14:59.399 --> 00:15:02.819
You can imagine this huge two-ton box,

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with the most extraordinary piece
of equipment inside of it,

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00:15:07.031 --> 00:15:09.534
with about 30 builders all round it,

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00:15:09.659 --> 00:15:13.371
and they rolled it off the back
of the truck onto the oil drums.

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00:15:13.454 --> 00:15:16.124
(UPBEAT MUSIC)

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PRESENTER: He's recognized
as the greatest record producer

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00:15:39.564 --> 00:15:41.607
the industry has seen. George Martin.

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00:15:41.732 --> 00:15:43.276
(APPLAUSE)

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What are you up to right now?
You have an interest in a studio abroad.

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Recently, I built a studio
out in the Caribbean.

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This reminds me of it, by the way.
(LAUGHS)

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So I spend quite a lot of time
out there.

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And that was Montserrat
in the West Indies.

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I hope I get a lot of people there.

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(5 "VOLCANO" BY JIMMY BUFFET)

228
00:16:09.385 --> 00:16:14.098
BUFFET: We were, I believe,
the second band that recorded there,

229
00:16:14.223 --> 00:16:17.143
and, you know, I love island culture
and I love the island people,

230
00:16:17.268 --> 00:16:21.272
and I lived on my boat off and on
down there for 20 years.

231
00:16:21.397 --> 00:16:25.151
So I didn't have to go back to London
or New York or Nashville to record it.

232
00:16:25.776 --> 00:16:28.863
And I was able to take those songs
that were written there

233
00:16:29.030 --> 00:16:32.909
and go into that studio
that was built by George Martin.

234
00:16:33.075 --> 00:16:36.037
You couldn't get anybody who had
a better reputation at that time.

235
00:16:36.162 --> 00:16:38.372
It was a lovely working environment

236
00:16:38.498 --> 00:16:42.877
because you didn't leave,
I would say, the arena of creativity.

237
00:16:43.044 --> 00:16:46.672
You were constantly involved
in the creation of this music,

238
00:16:46.797 --> 00:16:48.633
as opposed to, like, being in Nashville,

239
00:16:48.758 --> 00:16:51.928
because to me, there are
two ways that you go into the studio.

240
00:16:52.094 --> 00:16:55.932
You can go in and look for perfection,
or you can try to capture the magic.

241
00:16:56.098 --> 00:16:58.476
I've always been
a "capture the magic" guy.

242
00:16:58.559 --> 00:17:00.811
4 Now, I don't know

243
00:17:02.104 --> 00:17:03.564
♫ I don't know

244
00:17:04.690 --> 00:17:07.151
♫ I don't know where I'm a-gonna go

245
00:17:07.276 --> 00:17:09.028
<i>3 When the volcano blows</i>

246
00:17:09.153 --> 00:17:10.196
<i>3 One more now</i>

247
00:17:10.321 --> 00:17:11.656
♫ I don't know

248
00:17:11.781 --> 00:17:12.865
<i>♫ He don't know</i>

249
00:17:13.032 --> 00:17:14.367
♫ I don't know

250
00:17:14.492 --> 00:17:15.660
<i>♫ He don't know</i>

251
00:17:15.785 --> 00:17:17.870
♫ I don't know where I'm a-gonna go

252
00:17:18.037 --> 00:17:19.497
<i>3 When the volcano blows</i>

253
00:17:19.580 --> 00:17:21.290
♫ Mr. Utley

254
00:17:21.415 --> 00:17:25.127
But then, we had a few problems.
(LAUGHS)

255
00:17:25.253 --> 00:17:27.672
At the time, they were not funny

256
00:17:27.797 --> 00:17:30.841
because there was
a bit of a colonial aspect to things

257
00:17:30.967 --> 00:17:33.469
that did not fare well
with the American band.

258
00:17:33.553 --> 00:17:36.847
We were in having drinks,
meeting everybody.

259
00:17:36.973 --> 00:17:38.808
As we went to order the drinks,

260
00:17:38.933 --> 00:17:41.561
you had to do it one at a time
and have a slip down,

261
00:17:41.644 --> 00:17:44.105
you had to put it in
and pay for it at the time.

262
00:17:44.230 --> 00:17:47.608
And this did not go over well
with the Coral Reefer Band.

263
00:17:47.733 --> 00:17:52.280
So the studio manager at the time,
a guy named Denny Bridges, I remember,

264
00:17:52.405 --> 00:17:58.995
I said, "This is kinda odd for us, sir.
Can't we kind of speed this up?

265
00:17:59.161 --> 00:18:01.163
We can have fun here,

266
00:18:01.289 --> 00:18:03.874
but we're here for two hours
trying to pay for the drinks."

267
00:18:04.000 --> 00:18:05.751
He said,
"That's just the way we do it here."

268
00:18:05.876 --> 00:18:10.298
And I just said, "Why don't I just buy
the whole fucking bar?" (LAUGHS)

269
00:18:10.423 --> 00:18:13.092
♪ Ground, she's a-moving under me

270
00:18:15.469 --> 00:18:18.139
<i>I Tidal waves out on the sea</i>

271
00:18:21.142 --> 00:18:22.893
The thing was when we first got there,

272
00:18:23.019 --> 00:18:25.855
we didn't know
what we were gonna call the record.

273
00:18:25.980 --> 00:18:27.315
And we saw the volcano.

274
00:18:27.440 --> 00:18:31.485
This was a dormant volcano
that was, like, a tourist attraction.

275
00:18:31.611 --> 00:18:35.990
You could walk from, like, here to you
and that was the vent of the volcano.

276
00:18:36.157 --> 00:18:37.950
It was... (WHOOSHING SOUND)

277
00:18:38.117 --> 00:18:43.581
It was kind of fun to go up there,
and I was intrigued by that volcano

278
00:18:43.664 --> 00:18:47.418
that was, you know, sitting there
that was so accessible.

279
00:18:47.543 --> 00:18:49.253
The volcano.

280
00:18:49.378 --> 00:18:53.591
I don't think anybody gave the volcano
more than a sort of sideways glance

281
00:18:53.674 --> 00:18:54.800
when we went down there.

282
00:18:54.925 --> 00:19:00.139
There was this thing called a soufriére,
which was a bubbling sulfur springs,

283
00:19:00.264 --> 00:19:02.516
but it was seen
as one of the local tourist attractions.

284
00:19:02.642 --> 00:19:04.477
It wasn't seen as anything dangerous.

285
00:19:04.602 --> 00:19:08.064
I was always like, "Are you sure
you wanna be on this island with this?"

286
00:19:08.230 --> 00:19:11.275
Because the volcano
was always sort of not going off,

287
00:19:11.400 --> 00:19:15.696
but it was always, like, a possibility.
It was never, like, completely quiet.

288
00:19:15.821 --> 00:19:19.158
You'd sit on the veranda
and just listen.

289
00:19:19.283 --> 00:19:23.913
And... I remember thinking a few times,

290
00:19:24.038 --> 00:19:27.458
"Well, what
if that volcano suddenly went off?"

291
00:19:27.583 --> 00:19:30.169
I'm from Chicago, we don't do volcanoes.

292
00:19:30.294 --> 00:19:32.296
(I "BOOGIE WONDERLAND"
BY EARTH, WIND & FIRE")

293
00:19:32.421 --> 00:19:33.673
<i>I Dance</i>

294
00:19:35.049 --> 00:19:37.176
♫ Boogie wonderland

295
00:19:38.010 --> 00:19:39.637
<i>3 Ha, ha!</i>

296
00:19:39.720 --> 00:19:40.721
<i>I Dance</i>

297
00:19:42.056 --> 00:19:43.057
♫ Boogie wonderland

298
00:19:43.224 --> 00:19:44.684
VERDINE WHITE:
When we went to Montserrat,

299
00:19:44.809 --> 00:19:46.435
we had been coming off
all those hit records,

300
00:19:46.560 --> 00:19:49.814
those big hits,
and we wanted to pull away from that

301
00:19:49.939 --> 00:19:54.110
and be grounded,
cos we were musicians first.

302
00:19:54.276 --> 00:19:56.862
So we wanted to go back to our roots
and just play some music.

303
00:19:59.865 --> 00:20:04.787
For us, the biggest thing was the whole
experience of just going there.

304
00:20:04.912 --> 00:20:09.959
And I had heard the ladies that were
working in the field with the machetes,

305
00:20:10.084 --> 00:20:13.921
when they were bringing our equipment
from the airport to the studio,

306
00:20:14.046 --> 00:20:17.508
you know, the big cases
with Earth, Wind & Fire on them,

307
00:20:17.633 --> 00:20:20.386
they had their machetes
and they dropped them and applauded.

308
00:20:21.387 --> 00:20:24.598
Cos they knew we were coming.
They just applauded the cases.

309
00:20:24.724 --> 00:20:27.810
We hadn't even gotten there yet.
And it was beautiful.

310
00:20:27.935 --> 00:20:32.732
& Why do you hang your head

311
00:20:33.441 --> 00:20:38.279
♫ And never, never satisfy
the loneliness you tread

312
00:20:39.739 --> 00:20:44.326
♫ Spending your life
in the falling rain...

313
00:20:44.452 --> 00:20:48.873
If anything,
I think because of where it was,

314
00:20:48.998 --> 00:20:51.333
it touched our spirit
in a different kind of way.

315
00:20:51.459 --> 00:20:54.670
You didn't feel anything
other than just joy in the music.

316
00:20:54.754 --> 00:20:57.423
There was no rush either,
there was no clock.

317
00:20:57.548 --> 00:20:59.759
And by being away
from everything and everybody

318
00:20:59.842 --> 00:21:02.470
and from, "We need another hit record,
we need another hit record."

319
00:21:02.595 --> 00:21:05.473
And we just put that aside, and said,
"We're gonna do a double record."

320
00:21:05.598 --> 00:21:08.392
You know...
And we're just gonna play some music.

321
00:21:08.517 --> 00:21:12.563
And we actually mapped out
the whole record there.

322
00:21:12.688 --> 00:21:14.940
Top to bottom, just in conversation.

323
00:21:15.065 --> 00:21:18.360
It was the early '80s.
Record company budgets were reasonable,

324
00:21:18.486 --> 00:21:23.157
and afforded artists to go
and take over a studio for a while,

325
00:21:23.324 --> 00:21:24.575
a residential studio.

326
00:21:24.700 --> 00:21:28.329
So when you went to Montserrat,
it was yours.

327
00:21:28.454 --> 00:21:30.122
It was your environment.

328
00:21:30.289 --> 00:21:34.585
Your bar, your kitchen,
your whole place.

329
00:21:34.710 --> 00:21:39.465
So it was something
that was really quite special.

330
00:21:39.590 --> 00:21:43.344
There weren't many residential studios
of that quality.

331
00:21:43.469 --> 00:21:48.224
It was like it was all one big band.
It was like everybody was in the band.

332
00:21:48.390 --> 00:21:52.394
George the cook was in the band,
the housekeeper was in the band.

333
00:21:52.520 --> 00:21:55.231
It just all kind of overlapped,
it was not separate.

334
00:21:55.397 --> 00:21:58.067
It was like one big beautiful thing.

335
00:21:58.192 --> 00:22:01.111
FRANCIS:
Earth, Wind & Fire were very lovely.

336
00:22:01.237 --> 00:22:03.906
They came right here in this house.

337
00:22:04.031 --> 00:22:08.577
I invite them to come for dinner.
Some of them came.

338
00:22:08.702 --> 00:22:12.081
And when they came,
I had a daughter, a pretty daughter.

339
00:22:12.206 --> 00:22:13.833
One of them wanted the daughter,

340
00:22:13.958 --> 00:22:17.336
but he didn't get that chance. (LAUGHS)

341
00:22:17.461 --> 00:22:21.465
STEVE JACKSON:
The staff all had their own quirks.

342
00:22:21.590 --> 00:22:22.883
Blues, one of the drivers,

343
00:22:23.008 --> 00:22:25.845
whenever he wanted to say something,
he'd go, "Let me talk."

344
00:22:25.928 --> 00:22:28.764
Earth, Wind & Fire have a track
on that album called Let Me Talk.

345
00:22:28.848 --> 00:22:32.893
For a band to come in
and write a song about a driver,

346
00:22:33.018 --> 00:22:34.854
must've had an influence.

347
00:22:34.979 --> 00:22:37.481
I think in order to build a studio
that people love,

348
00:22:37.606 --> 00:22:39.525
it's all based around the staff.

349
00:22:39.650 --> 00:22:41.652
Montserrat was a bit like Fawlty Towers.

350
00:22:41.777 --> 00:22:44.113
It had these crazy characters
running around.

351
00:22:44.238 --> 00:22:48.576
Because it was a single studio space,
with no other bands there,

352
00:22:48.701 --> 00:22:51.620
the characters
that worked in the studios themselves

353
00:22:51.745 --> 00:22:53.664
became part of people's lives.

354
00:22:53.789 --> 00:22:56.584
Tappy Morgan, or George Morgan,
was the chef.

355
00:22:56.709 --> 00:22:58.002
He was great. He was very emotional.

356
00:22:58.127 --> 00:23:01.463
We all remember George, the chef,
I think.

357
00:23:02.381 --> 00:23:05.384
He was quite an imposing gentleman.

358
00:23:05.509 --> 00:23:07.595
GEORGE "TAPPY" MORGAN:
That was the best job

359
00:23:07.720 --> 00:23:08.929
I ever had in my entire life.

360
00:23:09.054 --> 00:23:14.101
Every band... gave me a big tip.

361
00:23:14.226 --> 00:23:16.020
And you know the reason why?

362
00:23:16.145 --> 00:23:19.315
Because I made them good food.
And everybody was happy.

363
00:23:19.481 --> 00:23:24.069
Phil Collins, Eric Clapton, Mick Jagger,
Keith Richards, Paul McCartney.

364
00:23:24.194 --> 00:23:29.950
All the guys liked the island.
They called it Strangers' Paradise.

365
00:23:30.075 --> 00:23:32.703
(I " HAPPINESS”
BY BASS OVER BABYLON)

366
00:23:42.838 --> 00:23:44.340
Do you want something else to drink?

367
00:24:02.149 --> 00:24:07.237
We would all be in the office,
and we had this telex machine.

368
00:24:07.363 --> 00:24:10.908
Remember we didn't have email
or any of this stuff in those days.

369
00:24:10.991 --> 00:24:15.037
We would be there, and suddenly
you would hear tap, tap, tap...

370
00:24:15.162 --> 00:24:18.207
And we would walk out there
and have a look.

371
00:24:18.332 --> 00:24:22.962
"Paul McCartney,
2nd February to 28th February."

372
00:24:23.045 --> 00:24:24.380
And that would be it.

373
00:24:24.546 --> 00:24:27.466
(HUMS MELODY)

374
00:24:29.635 --> 00:24:31.053
Something like that.

375
00:24:31.178 --> 00:24:34.932
♫ I've been wandering
without you by my side

376
00:24:35.015 --> 00:24:38.143
♫ Without you by my side

377
00:24:39.728 --> 00:24:42.481
I know what it is.
You need to go to the G.

378
00:24:42.606 --> 00:24:44.733
(SINGS)

379
00:24:46.193 --> 00:24:49.738
MCCARTNEY: After the Beatles,
none of us wanted to work with George.

380
00:24:49.863 --> 00:24:52.783
It wasn't that we didn't want
to be produced by him.

381
00:24:52.908 --> 00:24:58.205
We all would have loved the discipline
and the expertise that George has,

382
00:24:58.330 --> 00:25:00.290
but it was that he'd been associated
with the Beatles.

383
00:25:00.416 --> 00:25:02.710
GEORGE MARTIN: We were very
apprehensive about it to begin with,

384
00:25:02.835 --> 00:25:03.877
both of us I think,

385
00:25:04.003 --> 00:25:07.131
because although we've been
very good friends over the years,

386
00:25:07.256 --> 00:25:12.177
not having actually had
to have the hassles of working,

387
00:25:12.302 --> 00:25:15.014
we were all
a little bit not sure about it.

388
00:25:15.097 --> 00:25:19.893
GILES MARTIN: At that stage, Paul
was working with my father near London

389
00:25:20.019 --> 00:25:22.771
on two albums,
Tug of War and Pipes of Peace,

390
00:25:22.896 --> 00:25:25.190
and my father persuaded Paul
to go to Montserrat.

391
00:25:25.315 --> 00:25:29.403
ATKIN: Because I was the chief engineer,
I got the call from George, like,

392
00:25:29.570 --> 00:25:31.196
"You built this place."

393
00:25:31.321 --> 00:25:35.075
If Paul McCartney's coming in
and it's a success,

394
00:25:35.200 --> 00:25:37.828
it's like getting
the housekeeping seal of approval.

395
00:25:37.953 --> 00:25:39.663
So, it better work.

396
00:25:39.788 --> 00:25:43.625
REPORTER: It's now 14 hours
since John Lennon was shot here,

397
00:25:43.751 --> 00:25:47.296
at the entrance to the Dakota Building
on West 72nd Street

398
00:25:47.421 --> 00:25:50.049
in the center of New York.
In those 14 hours,

399
00:25:50.174 --> 00:25:54.053
there has been a crowd here
standing in more or less silent vigils.

400
00:25:54.136 --> 00:25:57.056
The flowers have been piling up
at the gate.

401
00:26:06.774 --> 00:26:09.401
GEORGE MARTIN: I feel frightfully sorry
for Yoko and Sean,

402
00:26:09.568 --> 00:26:12.071
and all the people
who loved him so much.

403
00:26:12.154 --> 00:26:15.908
I also feel very angry, that it's
such a senseless thing to happen,

404
00:26:16.033 --> 00:26:19.119
that one of the great people
that have happened this century

405
00:26:19.244 --> 00:26:22.331
can be just wiped out by madness.
I'm very angry about it.

406
00:26:29.421 --> 00:26:30.798
ATKIN: Paul came down to the island,

407
00:26:30.923 --> 00:26:33.884
sadly only a few weeks
after Lennon died.

408
00:26:34.009 --> 00:26:36.887
And it was touch and go before Christmas

409
00:26:37.012 --> 00:26:39.515
as to whether this actually
was going to happen.

410
00:26:39.681 --> 00:26:42.601
They were very, very nervous.

411
00:26:42.726 --> 00:26:46.021
An entire security firm
from New York City flew down

412
00:26:46.105 --> 00:26:47.940
ahead of the band arriving.

413
00:26:49.024 --> 00:26:53.862
And they would go everywhere,
just to protect the band.

414
00:26:53.987 --> 00:26:57.282
And they didn't even have a good time,
because they were just being a nuisance.

415
00:26:57.407 --> 00:26:59.118
You don't need that security
in Montserrat.

416
00:27:00.035 --> 00:27:02.538
ROSE WILLOCK: You need to understand,
that in Montserrat,

417
00:27:02.704 --> 00:27:08.001
if you're a cricketer or an athlete,

418
00:27:08.127 --> 00:27:10.087
people will be asking
for your autograph.

419
00:27:10.170 --> 00:27:14.049
If you're a musician, they hear you
on the radio all the time, no big deal.

420
00:27:14.133 --> 00:27:16.301
So they sent
their security guards packing.

421
00:27:16.426 --> 00:27:20.472
They would chill out in Kinsale,
in Salem, at the local bars.

422
00:27:20.639 --> 00:27:22.516
Just chill out
like how we are right now,

423
00:27:22.683 --> 00:27:25.269
and drink and get drunk and carry on
and all of that, no big deal.

424
00:27:25.769 --> 00:27:28.647
I Well, I used to fly when I was a kid

425
00:27:28.772 --> 00:27:32.109
♫ And I didn't cry if it hurt a bit

426
00:27:32.192 --> 00:27:34.987
<i>♪ On a carpet ride to a foreign land</i>

427
00:27:35.112 --> 00:27:37.990
<i>♪ At the time of Davy Crockett</i>

428
00:27:39.533 --> 00:27:42.202
4 But it wasn't always
such a pretty sight

429
00:27:42.327 --> 00:27:45.789
♫ Cos we used to fight
like cats and dogs

430
00:27:45.914 --> 00:27:48.834
4 Till we made it up in the ballroom

431
00:27:50.586 --> 00:27:56.091
<i>♪ Ballroom dancing made a man of me</i>

432
00:27:56.884 --> 00:27:59.678
♫ One, two, three, four

433
00:28:00.929 --> 00:28:04.183
JACKSON: Paul turned up
with a whole entourage of stars.

434
00:28:04.266 --> 00:28:07.853
Through Carl Perkins
and Stanley Clarke on bass

435
00:28:07.978 --> 00:28:09.771
and Stevie Wonder, of course.

436
00:28:09.897 --> 00:28:11.857
MCCARTNEY: I had this song
called Ebony and Ivory ,

437
00:28:11.982 --> 00:28:14.359
which is about harmony between races.

438
00:28:14.484 --> 00:28:16.236
Because it was Ebony and Ivory

439
00:28:16.361 --> 00:28:19.239
I thought, "I'll be the ivory,
so I need an ebony."”

440
00:28:19.364 --> 00:28:23.619
So, I thought my best choice would be
Stevie Wonder, if I could get him.

441
00:28:23.785 --> 00:28:29.166
So, I telephoned Stevie and said,
"Do you like the idea of doing this?"

442
00:28:29.249 --> 00:28:32.836
And he said, "Yeah."
So he came down to Montserrat.

443
00:28:32.961 --> 00:28:35.380
(I "EBONY AND IVORY" BY PAUL
MCCARTNEY AND STEVIE WONDER)

444
00:28:35.505 --> 00:28:40.260
& Ebony and ivory

445
00:28:40.385 --> 00:28:45.891
♫ Live together in perfect harmony

446
00:28:46.016 --> 00:28:50.520
<i>♪ Side by side on my piano keyboard</i>

447
00:28:50.646 --> 00:28:55.609
♫ Oh Lord, why don't we?

448
00:28:55.776 --> 00:28:58.904
JACKSON: I think they liked
the whole experience.

449
00:28:59.029 --> 00:29:03.951
When the recording was going well
and everything was happening,

450
00:29:04.076 --> 00:29:07.246
they'd take some time off,
and they wanted to go and play.

451
00:29:07.371 --> 00:29:10.624
So they'd go down to the local bar
and they would jam.

452
00:29:10.999 --> 00:29:13.543
There was one night, Stevie said to me,

453
00:29:13.669 --> 00:29:16.630
"I wanna go and play somewhere.
Can you fix it up?" I said, "Sure."

454
00:29:16.797 --> 00:29:21.343
I phoned up the Agouti and I said,
"Is your piano plugged in on the stage?"

455
00:29:21.468 --> 00:29:24.179
And they said,
"Yeah, but we're just about to close."

456
00:29:24.263 --> 00:29:28.267
And I said, "No, don't do that.
Don't you close tonight."

457
00:29:28.350 --> 00:29:30.435
And Stevie went down there and played.

458
00:29:30.560 --> 00:29:33.272
He played there
till four in the morning.

459
00:29:35.274 --> 00:29:38.068
WONDER:{ I've enjoyed my stay here
in Montserrat

460
00:29:38.193 --> 00:29:39.987
(CHEERS AND APPLAUSE)

461
00:29:42.239 --> 00:29:44.783
<i>3 You know,
this is my first time coming out</i>

462
00:29:45.826 --> 00:29:47.494
So, at the end of the night...

463
00:29:47.619 --> 00:29:50.289
At that time, we were playing
for ten percent of the bar.

464
00:29:50.414 --> 00:29:53.458
Whatever the bar take was,
we would get ten percent.

465
00:29:53.583 --> 00:29:56.295
That night, we got a lot of money

466
00:29:56.420 --> 00:30:00.507
because Stevie Wonder left US$5,000
in the bar for the band.

467
00:30:00.632 --> 00:30:03.885
So among the five of us,
we got about US$1,000 each.

468
00:30:04.011 --> 00:30:05.971
That was our biggest payday. (LAUGHS)

469
00:30:06.096 --> 00:30:07.639
For us, in Montserrat,

470
00:30:08.598 --> 00:30:13.020
it was just amazing.
There's not a word to describe that.

471
00:30:13.145 --> 00:30:16.815
And in some place else,
you couldn't pay for it.

472
00:30:17.816 --> 00:30:20.861
♫ And you know my friend,
Paul McCartney

473
00:30:23.071 --> 00:30:25.824
<i>♪ One of the nicest people I've ever met</i>

474
00:30:25.949 --> 00:30:27.743
(CHEERS AND APPLAUSE)

475
00:30:33.040 --> 00:30:34.708
I And the members of this band

476
00:30:34.875 --> 00:30:38.003
4 And all the people
at the studio and staff

477
00:30:38.128 --> 00:30:41.173
<i>3 I never will forget</i>

478
00:30:45.052 --> 00:30:49.014
I want everybody to say this.
Say it. Wait.

479
00:30:49.139 --> 00:30:50.515
<i>3 Montserrat</i>

480
00:30:50.640 --> 00:30:51.683
Say it.

481
00:30:51.850 --> 00:30:54.478
- AUDIENCE: ♫ Montserrat
- WONDER: It Montserrat

482
00:30:54.603 --> 00:30:56.021
Say it.

483
00:30:56.146 --> 00:30:58.565
- AUDIENCE: & Montserrat
- WONDER AND AUDIENCE: & Montserrat

484
00:30:58.690 --> 00:31:00.525
WONDER: Say it.

485
00:31:00.650 --> 00:31:02.444
ATKIN: When Stevie Wonder arrived,

486
00:31:02.569 --> 00:31:05.739
he and Paul were having
such a good time in the studio,

487
00:31:05.906 --> 00:31:07.574
the sessions were overrunning

488
00:31:07.699 --> 00:31:11.370
and Paul, I think he had
Air Force Two booked

489
00:31:11.495 --> 00:31:14.247
to go back from Antigua back to London.

490
00:31:14.373 --> 00:31:16.917
I can remember sitting next
to the telex machine

491
00:31:17.042 --> 00:31:19.419
and this huge great telex
comes rattling through saying,

492
00:31:19.544 --> 00:31:21.380
"If you don't get here
in the next two hours,

493
00:31:21.505 --> 00:31:23.507
we have to change the crews out again

494
00:31:23.632 --> 00:31:26.676
and it will cost you another $10,000,"
or whatever it was.

495
00:31:26.802 --> 00:31:31.390
And I just kind of turned to John
at the time and just said,

496
00:31:32.349 --> 00:31:35.936
"That's about what we're charging him
a week, isn't it?" (LAUGHS)

497
00:31:40.565 --> 00:31:44.736
JACKSON: When the band finished,
we took them all to the airport,

498
00:31:44.903 --> 00:31:49.741
we loaded them on their planes,
waved our bye-byes, and they all left.

499
00:31:49.908 --> 00:31:53.995
We would all drive up
to St George's Hill

500
00:31:54.121 --> 00:31:57.541
and we would all sit up there,
maybe having a beer,

501
00:31:57.666 --> 00:32:01.753
really not saying much,
just clearing our heads.

502
00:32:01.920 --> 00:32:04.214
And then, OK, back to the studio.

503
00:32:04.339 --> 00:32:07.843
And that was it.
Relaxation over and we'd get back.

504
00:32:08.009 --> 00:32:11.847
But that was special,
we'd just gotten through a gig,

505
00:32:12.013 --> 00:32:14.683
and everything was done,
everything was fine.

506
00:32:14.808 --> 00:32:17.602
Now we were going back
to get ready for the next one.

507
00:32:17.727 --> 00:32:22.732
1981, we didn't have a day off.
We worked back to back.

508
00:32:22.858 --> 00:32:25.277
(5 "ROXANNE" BY THE POLICE)

509
00:32:27.154 --> 00:32:30.866
ANDY SUMMERS: We were coming out
of the punk scene in London,

510
00:32:31.032 --> 00:32:35.745
which went from about 1977
to about 1980.

511
00:32:35.871 --> 00:32:37.289
Then it sort of petered out.

512
00:32:37.414 --> 00:32:40.459
But it was a wonderful,
colorful moment in music history.

513
00:32:40.584 --> 00:32:44.337
It was the crucible for The Police,
that's where we started.

514
00:32:44.463 --> 00:32:46.631
<i>3 Roxanne</i>

515
00:32:47.757 --> 00:32:50.510
4 You don't have to put on the red light

516
00:32:50.635 --> 00:32:52.888
STING: The Police made three albums

517
00:32:53.054 --> 00:33:00.145
in dingy, sunless recording studios
in England and in Holland,

518
00:33:00.270 --> 00:33:03.982
where we would work
from ten in the evening till dawn.

519
00:33:04.107 --> 00:33:07.861
And we lived that kind of existence
for a couple of years.

520
00:33:10.906 --> 00:33:14.075
Welcome to MTV Music Television,

521
00:33:14.201 --> 00:33:18.205
the world's first
24-hour stereo video music channel.

522
00:33:18.330 --> 00:33:22.083
STING: I think the success of The Police
really was a happy accident,

523
00:33:22.209 --> 00:33:26.588
because it was
the beginning of the MTV era,

524
00:33:26.713 --> 00:33:31.218
and we had a whole slew of videos
we'd already made

525
00:33:31.343 --> 00:33:36.598
and there was this channel,
custom-built to receive these videos.

526
00:33:36.723 --> 00:33:43.522
And we became a staple on MTV,
which, of course, added to our success.

527
00:33:44.481 --> 00:33:46.691
- STING: It's nice to be here in Athens.
- (CHEERING)

528
00:33:48.693 --> 00:33:51.363
What do you call the place?
Athena or something?

529
00:33:52.155 --> 00:33:54.366
STEWART COPELAND: By the third album,
we'd had a couple of hits

530
00:33:54.491 --> 00:33:55.867
and the record company are saying,

531
00:33:56.034 --> 00:33:59.538
"This is now going to be the big one,
if you get this next album right."

532
00:33:59.621 --> 00:34:02.374
And the record company
were there with us to ensure

533
00:34:02.499 --> 00:34:06.044
that we did not stray from the path
of commercial success.

534
00:34:06.169 --> 00:34:11.633
So, for the next album we went 12 hours'
flight away from the record company,

535
00:34:11.758 --> 00:34:15.220
down in the Caribbean,
at Montserrat Studios.

536
00:34:15.345 --> 00:34:16.930
<i>3 As I walk into a room</i>

537
00:34:17.097 --> 00:34:18.682
♫ I'm a three-line whip

538
00:34:18.807 --> 00:34:20.392
<i>♪ I'm the sort of thing they ban</i>

539
00:34:20.517 --> 00:34:21.726
<i>♪ I'm a walking disaster</i>

540
00:34:21.851 --> 00:34:23.395
♫ I'm a demolition man

541
00:34:26.231 --> 00:34:29.943
STING: And it just looked like
we would have died and gone to heaven.

542
00:34:30.110 --> 00:34:35.574
Because there was a tropical sea
and beautiful skies,

543
00:34:35.699 --> 00:34:39.786
and jungle and a swimming pool
right outside of the studio.

544
00:34:39.911 --> 00:34:44.082
And you could actually see
the daylight through the studio.

545
00:34:44.958 --> 00:34:47.586
This was sort of the rock-star dream.

546
00:34:47.669 --> 00:34:51.506
A fantastic state-of-the-art studio
in the Caribbean.

547
00:34:51.590 --> 00:34:53.967
I mean, this was it, this was like
the Beatles or something.

548
00:34:54.134 --> 00:34:57.846
We sort of reached the pinnacle
with going to those studios.

549
00:34:57.971 --> 00:34:59.639
STING: George would come in
occasionally,

550
00:34:59.764 --> 00:35:01.099
but he wasn't our producer.

551
00:35:01.224 --> 00:35:03.351
Our producer was a man
called Hugh Padgham.

552
00:35:03.476 --> 00:35:08.148
George was more of
a presiding genius around.

553
00:35:08.273 --> 00:35:11.651
He was rarely in the studio with us.

554
00:35:12.569 --> 00:35:15.280
The team were wonderful.
They looked after us.

555
00:35:15.405 --> 00:35:20.493
I would run up the hill every morning
from the villa and jump in the pool,

556
00:35:20.619 --> 00:35:24.623
and then write lyrics or write a tune,
and then make the album.

557
00:35:24.706 --> 00:35:27.667
I developed
a relationship with the island

558
00:35:27.792 --> 00:35:29.502
and the people who live there.

559
00:35:29.628 --> 00:35:34.633
I learned to windsurf on Montserrat.
I was taught by a guy called Danny.

560
00:35:34.758 --> 00:35:38.219
He was very patient with me
because I was a very slow learner.

561
00:35:38.345 --> 00:35:41.848
He's a very brilliant man,
very good friend of mine.

562
00:35:42.932 --> 00:35:44.184
Respects me much.

563
00:35:44.309 --> 00:35:50.190
He said, "Danny, you taught me something
that I'd never known how to do.

564
00:35:50.315 --> 00:35:53.026
The people teach me
or taught me things,

565
00:35:53.193 --> 00:35:56.279
they are my hero,
and you are one of my hero."

566
00:35:56.404 --> 00:35:58.198
Right, the dance steps.

567
00:35:58.323 --> 00:36:00.742
(SNAPS FINGERS)

568
00:36:03.787 --> 00:36:06.790
4 Whoa-oh-oh-oh, whoa-oh

569
00:36:07.791 --> 00:36:10.418
4 Whoa-oh-oh-oh, whoa-oh

570
00:36:11.586 --> 00:36:14.506
4 Whoa-oh-oh-oh, whoa-oh

571
00:36:15.173 --> 00:36:18.093
4 Whoa-oh-oh-oh, whoa-oh

572
00:36:19.552 --> 00:36:22.389
4 Whoa-oh-oh-oh, whoa-oh

573
00:36:22.514 --> 00:36:27.268
OLIVER: We did some backing vocals
for The Police.

574
00:36:27.686 --> 00:36:29.062
RILEY: It was quite funny, actually.

575
00:36:29.229 --> 00:36:32.899
Twice, I went into the studio
to do backing vocals.

576
00:36:33.024 --> 00:36:34.067
They're the same.

577
00:36:34.234 --> 00:36:36.403
- Everybody come and sing.
- Everybody come and sing.

578
00:36:36.528 --> 00:36:39.948
- They wanted, like, a choir.
- Sound like a choir.

579
00:36:40.073 --> 00:36:42.534
(BACKING TRACK PLAYS)

580
00:36:42.659 --> 00:36:44.577
- Hang on, stop.
- (MUSIC STOPS)

581
00:36:44.703 --> 00:36:46.287
OK, I understand.

582
00:36:46.413 --> 00:36:49.207
COPELAND: By this time in our career,
our main songwriter had a technique,

583
00:36:49.332 --> 00:36:52.419
which is to not reveal his songs
until we needed them.

584
00:36:52.544 --> 00:36:57.757
And this song came in
and we heard the demo,

585
00:36:57.882 --> 00:36:59.634
and we all could hear right away

586
00:36:59.718 --> 00:37:03.304
that the demo Sting made by himself,
it's already a hit.

587
00:37:03.430 --> 00:37:05.098
Just put that sucker out right away.

588
00:37:05.265 --> 00:37:08.601
But that didn't suit
our self-image as a band.

589
00:37:08.727 --> 00:37:11.980
(SONG CONTINUES)

590
00:37:15.608 --> 00:37:19.070
And we tried every way.
The punk version, the reggae version.

591
00:37:19.237 --> 00:37:23.116
And so, eventually, one morning
I arrived in the studio, "Fuck it!

592
00:37:23.283 --> 00:37:26.745
Just fucking play your fucked-up demo,

593
00:37:26.870 --> 00:37:29.831
just fucking... just tell me
where the fucking changes are!"

594
00:37:29.956 --> 00:37:33.001
I knew where the changes were,
because we'd tried it every which way.

595
00:37:33.126 --> 00:37:35.670
It's a complicated song
with a lot of different parts.

596
00:37:35.754 --> 00:37:38.548
And so, "OK, roll tape
and I'll play with the demo."

597
00:37:38.673 --> 00:37:41.551
And we did,
and the record that is the record

598
00:37:41.676 --> 00:37:46.347
is that morning recording
of that song in one take.

599
00:37:46.473 --> 00:37:49.017
4 Every little thing she does is magic

600
00:37:49.142 --> 00:37:51.728
♪ Everything she do just turns me on

601
00:37:52.395 --> 00:37:54.856
<i>♪ Even though my life before was tragic</i>

602
00:37:54.981 --> 00:37:57.650
♫ Now I know my love for her goes on

603
00:37:57.776 --> 00:38:01.279
4 Every little thing she does is magic

604
00:38:01.404 --> 00:38:03.531
♪ Everything she do just turns me on

605
00:38:03.656 --> 00:38:06.451
<i>♪ Even though my life before was tragic</i>

606
00:38:06.576 --> 00:38:10.497
♫ Now I know my love for her goes on

607
00:38:10.622 --> 00:38:13.374
Then we recorded in the studio.

608
00:38:13.500 --> 00:38:18.338
I think Andy was dancing
on George's prized mixing desk,

609
00:38:18.463 --> 00:38:20.215
which didn't go down well
with Mr. Martin.

610
00:38:20.381 --> 00:38:22.759
But he didn't harm it.
He was very light.

611
00:38:22.842 --> 00:38:24.511
We just had fun, it was a fun video.

612
00:38:24.636 --> 00:38:25.678
♫ Magic

613
00:38:25.804 --> 00:38:28.640
♫ Magic, magic, magic

614
00:38:28.765 --> 00:38:31.392
♫ Whoa-oh

615
00:38:31.518 --> 00:38:33.394
<i>3 Yo-oh</i>

616
00:38:34.521 --> 00:38:37.565
♪ Fe-oh-oh-oh, oh

617
00:38:37.690 --> 00:38:40.527
SUMMERS: Being on an island like that,
you can be in the bungalow

618
00:38:40.652 --> 00:38:43.154
in a dry, dusty patch of sand
down near the beach,

619
00:38:43.321 --> 00:38:45.824
and you'll be on your own,
there is no one else.

620
00:38:45.949 --> 00:38:49.702
So it was kind of isolating, and it
brought out some really good things.

621
00:38:49.828 --> 00:38:52.497
Ghost in the Machine
was another major hit album,

622
00:38:52.622 --> 00:38:57.210
but my wife called me and said,
"I want to get divorced," that's it.

623
00:38:57.377 --> 00:39:03.174
In fact, I think was all three of us
probably got divorced

624
00:39:03.341 --> 00:39:06.719
or started divorce proceedings
during Ghost in the Machine.

625
00:39:10.515 --> 00:39:16.062
STING: It was a period
of stratospheric success.

626
00:39:16.604 --> 00:39:21.401
The part of that, the speed
and the size of that success,

627
00:39:21.526 --> 00:39:24.404
also distorts your perception of it.

628
00:39:24.863 --> 00:39:28.741
And we were so filled
with this forward momentum,

629
00:39:28.867 --> 00:39:31.953
we didn't really get a chance
to appreciate it,

630
00:39:32.078 --> 00:39:36.249
except for Montserrat,
which allowed us to calm down.

631
00:39:36.416 --> 00:39:38.418
(SERENE MUSIC)

632
00:39:54.893 --> 00:39:58.187
COOPER: Music is the liquid architecture
of our emotions,

633
00:39:58.313 --> 00:39:59.772
and George was a wonderful architect.

634
00:39:59.898 --> 00:40:03.651
He had a way of putting things in place,
in the right place.

635
00:40:03.776 --> 00:40:08.948
In a place that was comfortable
and a place that grew, it was fruitful.

636
00:40:11.117 --> 00:40:13.620
(BIRDS CALL)

637
00:40:13.745 --> 00:40:16.456
() "BENNIE AND THE JETS"
BY ELTON JOHN)

638
00:40:16.581 --> 00:40:18.917
(CHEERING)

639
00:40:23.463 --> 00:40:26.424
<i>♪ Hey, kids, shake it loose together</i>

640
00:40:26.549 --> 00:40:29.302
4 The spotlight's hitting something...

641
00:40:29.469 --> 00:40:33.473
The first main wave of success
for Elton and the band

642
00:40:33.598 --> 00:40:40.605
was really from,
like, 1971, '72 till '76.

643
00:40:40.730 --> 00:40:43.232
Just a four-piece
with Elton, me, Dee and Nigel.

644
00:40:43.358 --> 00:40:46.069
We'd made
all those classic records in the '70s,

645
00:40:46.194 --> 00:40:48.947
and then there was a gap
where we weren't all together.

646
00:40:49.030 --> 00:40:50.949
We all did different things.
Elton retired.

647
00:40:51.074 --> 00:40:56.788
And he called me in '81 and said,
"I'm gonna put the band back together."

648
00:40:58.206 --> 00:40:59.207
I don't know.

649
00:40:59.332 --> 00:41:03.628
CHRIS THOMAS: I was recording
with Elton, in Paris,

650
00:41:03.753 --> 00:41:06.172
and we weren't getting much done.

651
00:41:06.881 --> 00:41:12.512
Um... that's the diplomatic answer.
(LAUGHS)

652
00:41:12.637 --> 00:41:15.974
I spoke to Elton's manager.

653
00:41:16.057 --> 00:41:19.560
He went to see Elton,
and all of a sudden...

654
00:41:19.686 --> 00:41:23.564
This was, I think, on a Tuesday
and we were flying back to London.

655
00:41:23.690 --> 00:41:27.318
And I was told that we were actually
going to Montserrat on Friday.

656
00:41:30.613 --> 00:41:34.200
We arrived there, and it was
just such a shock to suddenly be there.

657
00:41:34.325 --> 00:41:38.121
It was like,
"Oi! What are we doing here?" (LAUGHS)

658
00:41:38.246 --> 00:41:41.541
We had a couple of days to get over
the jetlag, and then we were off.

659
00:41:41.666 --> 00:41:43.668
NIGEL OLSSON: Montserrat
was a whole different deal.

660
00:41:43.793 --> 00:41:47.046
The room was fantastic.
It just had a great atmosphere.

661
00:41:47.171 --> 00:41:50.967
It had George all over it, the studio.
It was just so cool.

662
00:41:51.050 --> 00:41:54.554
I hadn't got any material
before I arrived in Montserrat,

663
00:41:54.679 --> 00:41:57.140
and I wrote 12 songs there.

664
00:41:57.265 --> 00:41:59.684
It's always the danger
that you might not be able to write.

665
00:41:59.809 --> 00:42:01.102
So I quite like that.

666
00:42:01.227 --> 00:42:03.396
For the first half an hour
when I was trying to write,

667
00:42:03.563 --> 00:42:05.273
I couldn't write anything
and I was panicking.

668
00:42:05.398 --> 00:42:09.193
But the way we write, it's very strange.
With Bernie and I, it's something...

669
00:42:09.318 --> 00:42:11.821
It just works, there's a magic there.

670
00:42:11.946 --> 00:42:14.157
Until Too Low for Zero,
with Elton and Bernie,

671
00:42:15.158 --> 00:42:16.576
it had been all over the place.

672
00:42:16.701 --> 00:42:19.871
They hadn't been together much,
hadn't been writing together.

673
00:42:19.996 --> 00:42:23.041
And this was the first album back.
It was all Bernie.

674
00:42:24.042 --> 00:42:26.085
And all the original band.

675
00:42:26.210 --> 00:42:29.547
So it was quite a remarkable event.

676
00:42:29.672 --> 00:42:31.716
OLSSON: We were all
on the same wavelength.

677
00:42:31.841 --> 00:42:35.136
We didn't have to tell each other
how it should be.

678
00:42:35.261 --> 00:42:40.349
And the beauty also was
that we heard the songs being written.

679
00:42:40.475 --> 00:42:42.477
So we were in there from the start.

680
00:42:42.643 --> 00:42:45.855
(I "I GUESS THAT'S WHY THEY CALL IT
THE BLUES"” BY ELTON JOHN)

681
00:42:53.362 --> 00:42:54.947
JOHNSTONE: I remember the day

682
00:42:55.073 --> 00:42:57.658
that we wrote I Guess That's Why
They Call It the Blues,

683
00:42:57.784 --> 00:43:01.412
because to me, it's one
of the greatest love songs of all time.

684
00:43:01.579 --> 00:43:05.083
And we wrote it in 20 minutes.
Again, it wasn't like a big thing.

685
00:43:05.208 --> 00:43:08.252
It was like, "OK, this, this, this.
Yeah, that sounds great.”

686
00:43:08.377 --> 00:43:10.213
And, "Let's get the guys in,
let's record it."

687
00:43:10.338 --> 00:43:14.926
<i>3 And I guess that's why
they call it the blues</i>

688
00:43:15.051 --> 00:43:17.386
<i>♪ Time on my hands</i>

689
00:43:17.512 --> 00:43:21.015
<i>♪ Could be time spent with you</i>

690
00:43:21.099 --> 00:43:23.768
<i>♪ Laughing like children</i>

691
00:43:23.893 --> 00:43:27.105
♫ Living like lovers

692
00:43:27.230 --> 00:43:29.816
4 Rolling like thunder

693
00:43:29.941 --> 00:43:32.819
<i>I Under the covers</i>

694
00:43:34.195 --> 00:43:37.740
<i>3 And I guess that's why
they call it the blues</i>

695
00:43:38.199 --> 00:43:40.785
THOMAS: There was something
about being on the same site.

696
00:43:40.910 --> 00:43:46.290
It has this strange effect
of bringing everybody together.

697
00:43:46.415 --> 00:43:48.793
(UPBEAT MUSIC)

698
00:43:51.671 --> 00:43:54.924
One day, Elton said,
"Where'd did you go last night?"

699
00:43:55.049 --> 00:43:58.094
I said, "We went to this new place.
We found this new place."

700
00:43:58.177 --> 00:44:00.847
He said, "Where is it?"
I said, "I'll show you."

701
00:44:00.972 --> 00:44:03.683
So, we were driving along

702
00:44:03.808 --> 00:44:07.311
and we go past
this totally rundown place

703
00:44:07.436 --> 00:44:10.022
with a bit of corrugated iron
over the top.

704
00:44:10.148 --> 00:44:12.483
And Elton goes,
"I love places like that.

705
00:44:12.650 --> 00:44:14.360
Nobody ever invites me
to places like that."

706
00:44:14.485 --> 00:44:16.279
I'm going, "Yeah, sure!"

707
00:44:16.404 --> 00:44:18.823
It's, you know, the bloke
who lives in the Ritz all the time.

708
00:44:18.948 --> 00:44:20.700
So, we went there.

709
00:44:20.825 --> 00:44:25.037
All right now, this is
where we do portionable dining.

710
00:44:25.163 --> 00:44:28.207
MORGAN: The Village Place
was just like ordinary place,

711
00:44:28.332 --> 00:44:30.334
like in the ghetto,

712
00:44:30.459 --> 00:44:34.505
where everybody hangs around
and they serve chicken wings

713
00:44:34.672 --> 00:44:37.842
and you go into the bar
and have some bush rum.

714
00:44:38.217 --> 00:44:40.720
RILEY: But I liked Elton John very much,

715
00:44:40.845 --> 00:44:43.931
because he makes
the whole place lively, very lively.

716
00:44:44.056 --> 00:44:47.518
Yeah, whenever he come here,
man, he just come out,

717
00:44:47.685 --> 00:44:49.478
- and start dancing.
- He's a good guy.

718
00:44:49.604 --> 00:44:52.148
Just dancing in the yard.

719
00:44:52.231 --> 00:44:53.858
RILEY: He was a good guy.

720
00:44:53.983 --> 00:44:57.111
OLIVER: He would take off his shades
and give it to whoever wanted it.

721
00:44:57.195 --> 00:45:02.116
Whenever he goes to the Village Place,
the bar is open until he leave.

722
00:45:02.200 --> 00:45:05.494
Open bar. Anybody who come here,
you get free drinks.

723
00:45:05.620 --> 00:45:10.041
He runs an open tab.
That's him. He's very generous.

724
00:45:10.541 --> 00:45:13.711
Guys that are down,
he brings them up, you know?

725
00:45:13.836 --> 00:45:15.129
(UPBEAT MUSIC)

726
00:45:15.213 --> 00:45:16.756
MICHAEL PAUL STAVROU: After dinner,

727
00:45:18.216 --> 00:45:22.553
we would all congregate back into
the control room with pifia coladas

728
00:45:22.720 --> 00:45:24.764
and sit back and listen to the album.

729
00:45:24.889 --> 00:45:31.020
And then, Elton would play it again.
And then, a third time.

730
00:45:31.145 --> 00:45:33.481
About a week into the album,

731
00:45:33.606 --> 00:45:38.986
everybody went to bed after playing
the album through only once,

732
00:45:39.111 --> 00:45:40.279
which upset Elton.

733
00:45:40.404 --> 00:45:42.907
He started ranting about
something about throwing...

734
00:45:43.032 --> 00:45:45.576
"It was a shit album.
I'm gonna throw the tapes in the pool."

735
00:45:45.743 --> 00:45:49.413
And Mike, very, very swiftly,
brilliant idea,

736
00:45:49.538 --> 00:45:53.459
gave him about six blank two-inch tapes.

737
00:45:54.085 --> 00:45:56.379
Elton went out and threw
the whole lot in the swimming pool.

738
00:45:56.504 --> 00:45:57.630
That could've been the album.

739
00:45:57.797 --> 00:46:00.258
(& "I'M STILL STANDING"
BY ELTON JOHN)

740
00:46:06.889 --> 00:46:09.058
When we were working
on Too Low for Zero,

741
00:46:09.183 --> 00:46:11.519
Dee had been suffering from cancer.

742
00:46:12.061 --> 00:46:15.439
So he wasn't in the studio all the time.

743
00:46:15.564 --> 00:46:18.859
Then we got a phone call
one morning saying,

744
00:46:18.985 --> 00:46:21.821
"Nigel can't come in.
He's not very well.”

745
00:46:21.946 --> 00:46:25.074
So Elton went, "What the fuck?"

746
00:46:25.199 --> 00:46:28.869
He said, "They're all dropping
like flies!" (LAUGHS)

747
00:46:28.995 --> 00:46:33.708
And over there in the distance,
there's a kind of shelf by the window

748
00:46:33.874 --> 00:46:35.626
separating the control room
and the studio,

749
00:46:35.793 --> 00:46:38.504
and there's this huge cloud
of marijuana smoke.

750
00:46:38.629 --> 00:46:41.173
And lying there, absolutely prone,

751
00:46:41.299 --> 00:46:46.053
was Adrian who was in charge
of all the logistics for the recordings.

752
00:46:46.178 --> 00:46:49.640
Out of this smoke this voice said,
"Well, I'm still standing."

753
00:46:49.807 --> 00:46:54.020
Elton and I just looked at each other,
we just collapsed with laughter.

754
00:46:54.145 --> 00:46:56.689
Then, the next minute,
Elton picked himself up,

755
00:46:56.856 --> 00:46:59.442
phoned up Bernie and said,
"I want you to write this song."

756
00:46:59.567 --> 00:47:01.402
<i>♪ I'm still standing</i>

757
00:47:01.527 --> 00:47:02.945
♫ Better than I ever did

758
00:47:04.488 --> 00:47:06.407
<i>♪ Looking like a true survivor</i>

759
00:47:07.033 --> 00:47:09.201
♫ Feeling like a little kid

760
00:47:10.328 --> 00:47:14.999
<i>♪ I'm still standing after all this time</i>

761
00:47:15.124 --> 00:47:18.669
♪' Picking up the pieces of my life
without you on my mind

762
00:47:20.338 --> 00:47:22.381
<i>3 I'm still standing...</i>

763
00:47:23.132 --> 00:47:25.259
JOHNSTONE: George Martin came down

764
00:47:25.343 --> 00:47:27.511
when we were there
doing Too Low for Zero.

765
00:47:27.636 --> 00:47:31.182
And later on, Chris told me
that George had said to him

766
00:47:32.350 --> 00:47:34.727
that he couldn't believe the chemistry

767
00:47:34.894 --> 00:47:39.148
that was happening between
the four of us in the studio. And...

768
00:47:40.149 --> 00:47:45.363
The only thing that he could liken it to
was when he worked with the Beatles.

769
00:47:45.446 --> 00:47:48.491
When we heard that, it was like,
"Shit, OK, I like that."

770
00:47:48.616 --> 00:47:51.535
I've got the same people around me now
as I did 15 years ago.

771
00:47:51.660 --> 00:47:53.371
We've been through ups and downs.

772
00:47:53.454 --> 00:47:56.582
And the pleasure of it all is being
able to share it with these people,

773
00:47:56.707 --> 00:47:58.959
and after all that time,
still be with them,

774
00:47:59.085 --> 00:48:01.253
and I think we're playing better.

775
00:48:02.254 --> 00:48:03.506
And it feels fantastic

776
00:48:03.631 --> 00:48:06.509
to be able to get a second chance
at having that enthusiasm.

777
00:48:06.634 --> 00:48:09.804
And so, that more than anything else,
it means a lot to me.

778
00:48:09.970 --> 00:48:12.598
♫ It's a little bit funny

779
00:48:13.557 --> 00:48:16.143
♪ This feeling inside...

780
00:48:16.268 --> 00:48:17.228
(LAUGHTER)

781
00:48:17.353 --> 00:48:19.105
<i>3 I'm not one of those</i>

782
00:48:19.230 --> 00:48:20.815
(LAUGHTER CONTINUES)

783
00:48:20.981 --> 00:48:23.484
I Who can easily hide...

784
00:48:23.609 --> 00:48:27.488
ROBINSON: We did all have good,
fun times. He did three albums with us.

785
00:48:27.613 --> 00:48:31.158
One time, he said
that he was leaving at 21st December.

786
00:48:31.283 --> 00:48:35.329
We were all getting excited because
Montserrat's carnival is at Christmas.

787
00:48:35.413 --> 00:48:40.209
So, we're all thinking, "Soon as the
band have gone, we'll all be partying."

788
00:48:40.334 --> 00:48:43.546
And he's like, "I think I'll stay."
So he stayed.

789
00:48:44.463 --> 00:48:45.548
We had a fantastic time.

790
00:48:45.673 --> 00:48:48.676
It was like a big family, sitting
at the table, enjoying Christmas.

791
00:48:48.801 --> 00:48:54.140
So, maybe with Elton,
the excesses were very, very big,

792
00:48:54.265 --> 00:48:55.391
but it didn't make him happy.

793
00:48:55.474 --> 00:48:58.602
It might not have been
anything to do with Montserrat,

794
00:48:58.727 --> 00:49:02.940
but he did have an experience
that quite changed him, obviously.

795
00:49:03.065 --> 00:49:06.819
(SINGING AND SAXOPHONE SOLO)

796
00:49:12.450 --> 00:49:15.411
OLSSON: It was a place
that was put there

797
00:49:15.494 --> 00:49:20.374
for people to understand themselves,
to inspire the world.

798
00:49:20.458 --> 00:49:24.879
Because there was a lot of stuff
came out of Montserrat that is forever.

799
00:49:25.045 --> 00:49:27.631
- One, two.
- One, two.

800
00:49:28.591 --> 00:49:33.012
COOPER: In London,
I was often overdubbing in the studios

801
00:49:33.137 --> 00:49:34.889
on work that had come from Montserrat.

802
00:49:35.055 --> 00:49:37.308
I would say sometimes,
"This is from Montserrat."

803
00:49:37.433 --> 00:49:38.809
They'd say, "How did you know?"

804
00:49:38.976 --> 00:49:40.978
I'd say, "I can hear it,
believe it or not."

805
00:49:41.103 --> 00:49:44.148
There's something in the air
that's surrounding these notes.

806
00:49:44.273 --> 00:49:47.776
There's a sympathy between the notes,
an understanding.

807
00:49:47.902 --> 00:49:49.737
That can only come
when you're working with George

808
00:49:49.862 --> 00:49:51.739
or in one of his environments.

809
00:49:51.864 --> 00:49:53.365
(I "RIO" BY DURAN DURAN)

810
00:49:55.576 --> 00:50:01.165
<i>3 Her name is Rio
and she dances on the sand</i>

811
00:50:02.124 --> 00:50:04.001
<i>3 Just like that river</i>

812
00:50:04.126 --> 00:50:07.421
4 Twisting through a dusty land

813
00:50:08.297 --> 00:50:10.424
IAN LITTLE: The '80s was probably

814
00:50:10.508 --> 00:50:15.221
one of the most inventive decades
for pop music.

815
00:50:15.721 --> 00:50:20.434
You'd had the punk movement in '76, '77,
then you had new wave,

816
00:50:20.518 --> 00:50:23.395
bridged the gap
from the '70s into the '80s.

817
00:50:23.521 --> 00:50:26.357
And then you had this thing
called the New Romantics,

818
00:50:26.482 --> 00:50:30.027
which was Duran Duran,
Spandau Ballet, Culture Club.

819
00:50:30.152 --> 00:50:32.196
And Duran were the biggest of the bunch.

820
00:50:32.321 --> 00:50:34.323
(FANS SHRIEK)

821
00:50:42.039 --> 00:50:44.542
RHODES:
We'd just finished the Rio album,

822
00:50:44.667 --> 00:50:46.085
and we were chasing The Police,

823
00:50:46.710 --> 00:50:48.921
because they were
a little bit older than us.

824
00:50:49.088 --> 00:50:52.383
They were ahead of us in America,
and it was time to make another album.

825
00:50:52.508 --> 00:50:55.052
And then we thought,
"We can't go back to England.”

826
00:50:55.177 --> 00:50:59.181
Because it was just a little too crazy
with all the hysteria at that point.

827
00:50:59.306 --> 00:51:01.517
We couldn't really move in the street.

828
00:51:01.600 --> 00:51:03.811
So we wanted
to get as far away as we could.

829
00:51:03.936 --> 00:51:08.691
AIR Studios Montserrat looked
very appealing from the brochures.

830
00:51:08.816 --> 00:51:12.820
And, of course,
having George Martin involved,

831
00:51:12.945 --> 00:51:16.240
we figured that everything's
gonna be perfect there.

832
00:51:16.365 --> 00:51:18.242
(♫ "THE REFLEX" BY DURAN DURAN)

833
00:51:21.996 --> 00:51:26.500
RHODES: When we arrived, it was like
being in a surrealist painting.

834
00:51:27.376 --> 00:51:31.338
You go, and there's black sand
everywhere, and the volcano,

835
00:51:31.463 --> 00:51:34.675
and these giant iguanas.

836
00:51:34.800 --> 00:51:37.511
One thing that was a bit of a shock

837
00:51:37.595 --> 00:51:42.099
was that we were used
to living our lives

838
00:51:42.224 --> 00:51:45.311
completely under media scrutiny.

839
00:51:45.436 --> 00:51:48.105
And it was days when you'd wake up

840
00:51:48.230 --> 00:51:52.026
and there'd be someone hiding
in your hedge in your front garden.

841
00:51:52.192 --> 00:51:56.572
You'd have to draw the curtains quickly
when you're having breakfast.

842
00:51:57.698 --> 00:52:02.036
So, suddenly there, there was no one.

843
00:52:02.202 --> 00:52:07.249
It was like suddenly going under water
and there was silence.

844
00:52:07.374 --> 00:52:09.335
(INSECTS CHIRRUP)

845
00:52:12.880 --> 00:52:15.341
(♫ "THE REFLEX" BY DURAN DURAN)

846
00:52:21.305 --> 00:52:23.974
LITTLE: In Montserrat, we had fun.

847
00:52:24.141 --> 00:52:26.852
We're not that straight-laced.
We're making rock 'n' roll.

848
00:52:26.977 --> 00:52:29.021
When we first arrived,

849
00:52:29.188 --> 00:52:33.692
and when we made it known
to the staff at the studio

850
00:52:33.817 --> 00:52:35.527
that we wanted some grass,

851
00:52:35.653 --> 00:52:39.740
within, I don't know, 15 minutes,
some kid arrived with a plant

852
00:52:39.865 --> 00:52:42.785
that he just uprooted
and stuck in a carrier bag.

853
00:52:43.535 --> 00:52:49.208
RHODES: For Simon, he loves sunshine
and he loves being outdoors

854
00:52:49.333 --> 00:52:51.293
and he loves boats and water.

855
00:52:51.418 --> 00:52:56.006
So it was a dream to be able
to be at a studio in the Caribbean,

856
00:52:56.173 --> 00:53:01.303
do a few hours' work,
then go off and have fun in the sea.

857
00:53:01.428 --> 00:53:06.100
For me,
really hot climates and isolation,

858
00:53:06.266 --> 00:53:11.355
personally are not
so great for creativity

859
00:53:11.480 --> 00:53:15.067
when you wanna do something
with a little experimentation.

860
00:53:15.234 --> 00:53:20.114
And so I really had a bit
of personality clash with it creatively.

861
00:53:20.280 --> 00:53:24.868
And I ended up working
into the night mostly in the studio,

862
00:53:24.993 --> 00:53:28.580
because there was no disruptions,
people weren't running out of the door

863
00:53:28.706 --> 00:53:30.708
to jump in the swimming pool
every five minutes.

864
00:53:30.833 --> 00:53:33.085
And I could actually focus on things.

865
00:53:33.252 --> 00:53:35.963
But, having said that,
when we were there,

866
00:53:36.088 --> 00:53:39.550
we got the basis for
the Seven and the Ragged Tiger album,

867
00:53:39.675 --> 00:53:42.678
The Reflex
and The Union of the Snake.

868
00:53:42.761 --> 00:53:46.223
♫ The reflex is a lonely child

869
00:53:46.348 --> 00:53:50.227
& Who's waiting by the park

870
00:53:50.352 --> 00:53:53.897
♪ The reflex is in charge of finding

871
00:53:54.022 --> 00:53:57.735
<i>3 Treasure in the dark</i>

872
00:53:57.860 --> 00:54:00.988
4 And watching over lucky clover...

873
00:54:01.697 --> 00:54:05.909
Being in Montserrat, you certainly felt
isolated from the real world.

874
00:54:06.034 --> 00:54:11.165
It did end up feeling like
we were disconnected from the fans

875
00:54:11.331 --> 00:54:13.584
because we were just living
in paradise,

876
00:54:13.709 --> 00:54:17.337
and that's why we decided
we need to finish the album in a city.

877
00:54:17.880 --> 00:54:22.134
RHODES: We went to Montserrat
with all good intentions,

878
00:54:22.301 --> 00:54:25.095
and to George Martin's great credit,

879
00:54:25.262 --> 00:54:28.974
he pulled off something
that was pretty extraordinary.

880
00:54:29.099 --> 00:54:36.607
But I'm not sure
that we were in the right headspace

881
00:54:36.732 --> 00:54:39.401
to make the kind of record there

882
00:54:39.526 --> 00:54:43.572
that might have been
a little more chilled.

883
00:54:43.697 --> 00:54:46.450
We wanted
to make something full of energy.

884
00:54:46.575 --> 00:54:48.452
Duran Duran came, and they were young.

885
00:54:48.577 --> 00:54:52.331
As they were there, I think two of them
celebrated their 21st birthday.

886
00:54:52.456 --> 00:54:54.625
And they were
at the height of their fame.

887
00:54:54.750 --> 00:54:59.963
So, of course, they were probably
wanting to be in the jet-set place.

888
00:55:00.088 --> 00:55:01.799
So, it wasn't exactly right for them.

889
00:55:01.924 --> 00:55:05.886
We had some other bands like Ultravox.
They were young at the time.

890
00:55:06.011 --> 00:55:08.305
Orchestral Manoeuvres in the Dark,
they came.

891
00:55:08.430 --> 00:55:10.015
But it was right for them

892
00:55:10.140 --> 00:55:12.684
because they were ready to enjoy
what Montserrat offered.

893
00:55:31.912 --> 00:55:33.789
LOU REED: We went to Montserrat once
and recorded.

894
00:55:33.872 --> 00:55:35.332
That wasn't a good experience for me.

895
00:55:35.457 --> 00:55:39.336
Palm trees and the ocean
and the sand's too relaxing.

896
00:55:39.461 --> 00:55:40.671
I need to hear traffic.

897
00:55:47.427 --> 00:55:52.015
JOHNSTONE: They sold Valium over
the counter, which was fucking insane

898
00:55:52.140 --> 00:55:54.601
because you'd walk into the store
and go,

899
00:55:54.726 --> 00:55:57.729
"I'll have a bottle of shampoo,
packet of razorblades,

900
00:55:57.855 --> 00:55:59.857
50 Valium and a Mars bar."

901
00:56:04.236 --> 00:56:08.156
We got on this little plane,
propeller plane.

902
00:56:08.282 --> 00:56:11.827
And the pilot's got a joint in his hand.

903
00:56:11.910 --> 00:56:14.788
I'm going, "This doesn't look too safe.”

904
00:56:20.127 --> 00:56:23.297
I've seen bands that came down and...

905
00:56:24.590 --> 00:56:28.719
changed, like, their work pattern.

906
00:56:28.844 --> 00:56:32.681
They say it themselves. "Wow!
We did such and such in two days.

907
00:56:32.806 --> 00:56:35.726
It's unbelievable. We've never done
that before. That was a six-week job."

908
00:56:40.230 --> 00:56:43.650
HARRIES: The place was like that.
It made you intense.

909
00:56:43.775 --> 00:56:47.654
It sort of intensified everything
that you were.

910
00:56:47.779 --> 00:56:52.618
But it also got a reputation for a place
where you could get things done.

911
00:56:52.743 --> 00:56:56.121
One of the things that happened
with a lot a very famous people

912
00:56:56.246 --> 00:56:59.750
was they lost sight
of how they became famous.

913
00:56:59.875 --> 00:57:01.793
Coming to an island like this,

914
00:57:01.919 --> 00:57:05.005
you were shoved
straight back into each other's faces

915
00:57:05.130 --> 00:57:06.715
and you had to
go and make another album.

916
00:57:06.840 --> 00:57:08.926
But at the moment,
I want to have a fight.

917
00:57:09.009 --> 00:57:11.261
Much better television
than your questions,

918
00:57:11.428 --> 00:57:12.638
- I promise you.
- OK.

919
00:57:12.763 --> 00:57:16.892
- Shall we film me whopping Sting?
- Yes. That would be great.

920
00:57:16.975 --> 00:57:19.019
SUMMERS: The Police, album one,
album two,

921
00:57:19.144 --> 00:57:21.563
it was us against the world.

922
00:57:21.688 --> 00:57:24.775
By the time we got up to Synchronicity ,
we were world-famous,

923
00:57:24.900 --> 00:57:27.945
everything had changed, and it was,
"Why should we be a band anymore?"

924
00:57:28.070 --> 00:57:29.655
(TUNES GUITAR)

925
00:57:29.780 --> 00:57:31.323
Shall we tune the guitar for you, man?

926
00:57:31.490 --> 00:57:33.116
SUMMERS: So when we got back
to Montserrat,

927
00:57:33.241 --> 00:57:35.953
we were so isolated from each other,

928
00:57:36.078 --> 00:57:38.872
that it got really difficult to...

929
00:57:38.956 --> 00:57:41.708
you know, imagine being in the studio
and making a record.

930
00:57:41.833 --> 00:57:43.168
It was sort of icy.

931
00:57:43.293 --> 00:57:45.462
COPELAND: We went there
for the isolation,

932
00:57:45.587 --> 00:57:48.256
but we soon found
that without anything else around us,

933
00:57:48.382 --> 00:57:51.009
we had only each other
to drive each other bananas.

934
00:57:51.134 --> 00:57:55.138
And we all saw the irony of it,

935
00:57:55.263 --> 00:57:57.683
although we were screaming
and shouting at each other,

936
00:57:57.808 --> 00:58:03.146
that here we were in this paradise,
which we soon turned into a living hell.

937
00:58:03.271 --> 00:58:04.982
MAN: Yeah!

938
00:58:05.065 --> 00:58:07.275
(GUITAR PLAYING)

939
00:58:09.194 --> 00:58:11.989
SUMMERS: I was the only one, personally,
the guitar player

940
00:58:12.114 --> 00:58:14.783
in the studio itself,
this recording room.

941
00:58:14.908 --> 00:58:18.787
Then there was the control room,
where the Neve desk was.

942
00:58:18.912 --> 00:58:24.001
Sting was in there playing his bass,
and Stewart was up in the dining room.

943
00:58:24.084 --> 00:58:26.253
We were playing together,
but weren't seeing each other.

944
00:58:26.378 --> 00:58:28.964
We were all completely isolated
and playing through headphones,

945
00:58:29.047 --> 00:58:30.173
which was sort of bizarre.

946
00:58:30.298 --> 00:58:32.509
What they all wanted in those days,

947
00:58:32.634 --> 00:58:35.303
this is a different period
of recording techniques,

948
00:58:35.429 --> 00:58:37.431
was perfect separation.

949
00:58:37.597 --> 00:58:38.849
And that's what we had,

950
00:58:38.974 --> 00:58:41.977
and that's what we were gonna be
as people too, perfect separation.

951
00:58:42.060 --> 00:58:45.022
COPELAND: I did not like recording
in the dining room,

952
00:58:45.105 --> 00:58:48.191
because it was lonely and grumpy.

953
00:58:48.316 --> 00:58:52.571
And it wasn't the feeling
of what I liked about the band,

954
00:58:52.696 --> 00:58:55.157
which was the interaction.

955
00:58:55.282 --> 00:58:58.326
That's what we did live
and what's so exciting.

956
00:58:58.452 --> 00:59:02.330
But it was quite miserable.
I couldn't wait to get off that island

957
00:59:02.456 --> 00:59:04.666
and put it behind me, and have it done.

958
00:59:05.417 --> 00:59:09.796
STING: Well, the conflict in the band
is kind of storied

959
00:59:09.921 --> 00:59:12.007
and it may well be exaggerated.

960
00:59:12.883 --> 00:59:18.013
But for me, it was a function
of the creative process.

961
00:59:18.096 --> 00:59:22.434
You have three alpha males
trying to forge something

962
00:59:22.601 --> 00:59:25.270
that points in one direction
and not three.

963
00:59:26.813 --> 00:59:29.232
We weren't physically aggressive
with each other,

964
00:59:29.357 --> 00:59:31.193
but it got pretty heated in there

965
00:59:31.318 --> 00:59:36.114
but really because we cared passionately
about what each of us were doing.

966
00:59:36.907 --> 00:59:41.286
And, um... But it was not easy.

967
00:59:41.411 --> 00:59:45.123
It was great to have an environment
around us where you could escape to.

968
00:59:45.248 --> 00:59:48.251
I could go walking in the hills.

969
00:59:48.376 --> 00:59:50.754
In fact, I went up to the volcano
a couple of times.

970
00:59:50.879 --> 00:59:55.008
You'd come back smelling of sulfur.
People would think you'd been to hell.

971
00:59:55.092 --> 00:59:56.426
WOMAN: So, back to the top?

972
00:59:56.593 --> 00:59:58.220
- (MUSIC PLAYING)
- (TAPE STOPS)

973
00:59:58.345 --> 01:00:03.350
It's OK. All right, yeah, it sounds OK.
It's C, F and A now, yeah.

974
01:00:03.475 --> 01:00:05.227
SUMMERS: We got to a point
fairly early on

975
01:00:05.352 --> 01:00:07.187
where we almost couldn't
speak to each other.

976
01:00:07.312 --> 01:00:11.399
It was tense, the atmosphere was tense,
like we shouldn't be doing this anymore.

977
01:00:11.525 --> 01:00:13.151
We need a producer.

978
01:00:13.276 --> 01:00:16.113
I said, "What about George Martin?
He produced the Beatles. Surely?"

979
01:00:16.238 --> 01:00:19.991
And we were up there,
so he'll probably take the job.

980
01:00:20.117 --> 01:00:22.994
Sting and Stewart said,
"Well, you go and get him then."

981
01:00:23.120 --> 01:00:24.454
So I said, "Right, I will."

982
01:00:24.621 --> 01:00:27.958
We sat down and he said,
"Would you like a cup of tea?"

983
01:00:28.083 --> 01:00:30.335
I said I'd have a cup of tea.
So we're having a cup of tea.

984
01:00:30.460 --> 01:00:32.796
I start to tell him
about the problems with the band.

985
01:00:32.921 --> 01:00:36.383
And I said, "We'd like you
to come over and produce us."

986
01:00:36.508 --> 01:00:38.385
He said, "Um... not sure.”

987
01:00:38.510 --> 01:00:40.762
Maybe he wasn't
in the producing mood at that point.

988
01:00:40.887 --> 01:00:43.765
He said, "I think you can sort it out.
You're grown-ups.

989
01:00:43.890 --> 01:00:47.185
Come on, I think you can do it.
There's a lot at stake here."

990
01:00:47.310 --> 01:00:51.022
So, we had a very nice time
having tea and chatting.

991
01:00:51.148 --> 01:00:54.317
I walked all the way back
across the valley in the beating heat,

992
01:00:54.442 --> 01:00:57.028
and we were all incredibly polite
to one another

993
01:00:57.154 --> 01:00:59.364
and very nice for the rest of the album.

994
01:00:59.489 --> 01:01:00.532
That cured it.

995
01:01:00.699 --> 01:01:03.118
(♫ "EVERY BREATH YOU TAKE"
BY THE POLICE)

996
01:01:15.422 --> 01:01:18.049
4 Every breath you take

997
01:01:19.176 --> 01:01:21.845
4 Every move you make

998
01:01:23.180 --> 01:01:25.098
<i>♪ Every bond you break</i>

999
01:01:25.182 --> 01:01:27.142
4 Every step you take

1000
01:01:27.225 --> 01:01:29.102
♫ I'll be watching you...

1001
01:01:29.519 --> 01:01:31.354
COPELAND: Every Breath You Take
was very different

1002
01:01:31.479 --> 01:01:33.190
from most of our other recordings,

1003
01:01:33.273 --> 01:01:35.734
because it was pieced together
bit by bit.

1004
01:01:35.859 --> 01:01:40.488
It was another song
that we knew was a huge hit.

1005
01:01:40.614 --> 01:01:46.077
Do not mess with it,
do not get in the way of a big hit.

1006
01:01:46.203 --> 01:01:51.208
So every element was recorded
completely separately.

1007
01:01:51.291 --> 01:01:54.127
And the result is actually kinda cool.

1008
01:01:54.211 --> 01:01:57.964
It's very composed,
all the parts are very composed.

1009
01:01:58.381 --> 01:02:02.928
And at the same time,
emotionally very powerful.

1010
01:02:03.053 --> 01:02:07.098
♪ Since you've gone
I've been lost without a trace

1011
01:02:07.224 --> 01:02:11.228
<i>♪ I dream at night
I can only see your face</i>

1012
01:02:11.353 --> 01:02:15.398
<i>♪ I look around
but it's you I can't replace</i>

1013
01:02:15.523 --> 01:02:19.527
♫ I feel so cold
and I long for your embrace

1014
01:02:19.653 --> 01:02:27.661
<i>♪ I keep cryin', "Baby, baby, please”</i>

1015
01:02:33.083 --> 01:02:36.336
You know, maybe the best music
comes out of this sort of tension.

1016
01:02:36.461 --> 01:02:37.545
I've always believed that.

1017
01:02:37.671 --> 01:02:42.217
I think that The Police
had three distinct personalities

1018
01:02:42.300 --> 01:02:45.762
which were not the ideal bedmates,
because we weren't mellow guys.

1019
01:02:45.887 --> 01:02:51.685
But I think that firecracker complex
is what sort of fuels the music.

1020
01:02:51.851 --> 01:02:55.063
In hindsight, it was worth it,
and we could all see...

1021
01:02:55.188 --> 01:03:00.110
When we had calmed down, left the island
and we went back to the real world,

1022
01:03:00.235 --> 01:03:01.569
all those battles that we'd fought

1023
01:03:01.695 --> 01:03:05.156
and arguments about what we were gonna
do and how we were gonna do it,

1024
01:03:05.282 --> 01:03:08.326
they were worth it, because
it really did light the thing up.

1025
01:03:08.451 --> 01:03:11.955
And we all can say
that if I'd had my way every day,

1026
01:03:12.080 --> 01:03:14.582
it wouldn't have been
a great album that it was.

1027
01:03:14.708 --> 01:03:17.794
If we had let Sting get away
with every commandment,

1028
01:03:17.919 --> 01:03:22.173
and if Andy had put in
every guitar solo, uh...

1029
01:03:22.299 --> 01:03:23.967
it wouldn't have been the same thing.

1030
01:03:24.092 --> 01:03:28.972
We kind of needed each other
to restrain and incite each other.

1031
01:03:29.097 --> 01:03:30.807
♫ I'll be watching you

1032
01:03:30.932 --> 01:03:32.976
4 Every move you make

1033
01:03:33.101 --> 01:03:34.811
4 Every vow you break

1034
01:03:34.936 --> 01:03:37.105
<i>♪ Every smile you fake</i>

1035
01:03:37.230 --> 01:03:39.065
♫ I'll be watching you

1036
01:03:39.190 --> 01:03:40.942
<i>♪ Every single day</i>

1037
01:03:41.067 --> 01:03:43.403
<i>♪ Every word you say...</i>

1038
01:03:43.528 --> 01:03:46.448
STING: Synchronicity
was our biggest success.

1039
01:03:46.573 --> 01:03:48.450
It had songs like Every Breath You Take,

1040
01:03:48.575 --> 01:03:52.579
and King of Pain
and Wrapped Around Your Finger.

1041
01:03:52.704 --> 01:03:57.834
But I did decide during that recording
that I didn't want to do this again.

1042
01:03:57.959 --> 01:04:02.088
That we had achieved everything
we set out to do as a band,

1043
01:04:02.213 --> 01:04:06.760
and achieved it tenfold, a hundredfold
more than our expectations,

1044
01:04:06.926 --> 01:04:11.264
and so, after that, I figured
it would just be diminishing returns.

1045
01:04:11.348 --> 01:04:16.353
So I wanted to use the momentum
we'd gained to set out on my own.

1046
01:04:16.436 --> 01:04:21.399
After we finished the Police album,
Sting stays there for a bit of a holiday

1047
01:04:21.524 --> 01:04:26.363
and the next band in is Dire Straits,
and the rest is history.

1048
01:04:26.905 --> 01:04:33.036
I I want my MTV

1049
01:04:34.704 --> 01:04:36.790
I want my MTV!

1050
01:04:36.956 --> 01:04:42.337
KNOPFLER: I've seen on MTV
The Police doing an ad for it.

1051
01:04:42.420 --> 01:04:47.592
And I thought, "If I stick that
to Don't Stand So Close to Me,

1052
01:04:48.802 --> 01:04:51.054
those notes, that would fit."

1053
01:04:51.971 --> 01:04:56.476
Anyway, we were recording
Money for Nothing ,

1054
01:04:56.601 --> 01:04:59.938
and I said to somebody,
"I wish Sting was here."

1055
01:05:00.063 --> 01:05:03.108
And somebody said,
"Well, he is here, he's on holiday."

1056
01:05:03.233 --> 01:05:05.402
(& "MONEY FOR NOTHING"
BY DIRE STRAITS)

1057
01:05:15.829 --> 01:05:16.704
Ow!

1058
01:05:30.343 --> 01:05:31.469
♫ Listen here, now

1059
01:05:31.594 --> 01:05:33.388
<i>3 That ain't workin'</i>

1060
01:05:33.471 --> 01:05:34.806
4 That's the way you do it

1061
01:05:35.640 --> 01:05:37.767
<i>3 You play the guitar on your MTV...</i>

1062
01:05:38.768 --> 01:05:41.020
Trudie said to me,
"That's gonna be such a huge hit."

1063
01:05:41.146 --> 01:05:44.607
I said, "I dunno, it's OK."

1064
01:05:44.732 --> 01:05:48.528
Of course, it was the biggest hit
of that year, so I was very...

1065
01:05:48.653 --> 01:05:51.114
very proud to have been on that,
but it's purely a function

1066
01:05:51.239 --> 01:05:53.992
of just being in the right place
at the right time.

1067
01:05:54.117 --> 01:05:56.035
♫ We are the sultans

1068
01:05:57.412 --> 01:06:00.623
<i>♪ Yeah, we are the sultans of swing</i>

1069
01:06:00.748 --> 01:06:02.500
<i>♪ That's right...</i>

1070
01:06:05.420 --> 01:06:08.506
KNOPFLER: There'd been something
going on with the other albums.

1071
01:06:08.631 --> 01:06:13.678
There'd been a sort of a build-up,
because we were playing live

1072
01:06:13.803 --> 01:06:17.182
and there was a big demand
to see the band live.

1073
01:06:17.307 --> 01:06:21.352
Because the feeling was
that not only could we do it all live,

1074
01:06:21.478 --> 01:06:24.355
but it was better
than playing the records.

1075
01:06:24.481 --> 01:06:27.275
That was reaching
a sort of critical mass.

1076
01:06:27.400 --> 01:06:29.486
(GUITAR SOLO)

1077
01:06:34.240 --> 01:06:36.409
NEIL DORSFMAN:
Mark wanted to try something different

1078
01:06:36.493 --> 01:06:38.786
in the approach
to recording Brothers in Arms.

1079
01:06:38.912 --> 01:06:42.123
After we did Love Over Gold,
we were both displeased

1080
01:06:42.248 --> 01:06:45.293
with how analogue tape would change
the sound of our recordings

1081
01:06:45.418 --> 01:06:46.377
while we were doing it.

1082
01:06:46.503 --> 01:06:49.172
Dire Straits' manager
was conscious of that

1083
01:06:49.297 --> 01:06:53.009
and encouraged Mark to record the album
digitally and mix it digitally.

1084
01:06:53.134 --> 01:06:57.680
So, it was an all-digital recording
ultimately winding up on CD.

1085
01:06:57.805 --> 01:07:00.183
And it was one of the first records
to be done that way,

1086
01:07:00.308 --> 01:07:04.187
and I think he wanted the time
and the peace and quiet of Montserrat

1087
01:07:04.312 --> 01:07:05.647
to do it there.

1088
01:07:05.772 --> 01:07:07.732
() "SO FAR AWAY" BY DIRE STRAITS)

1089
01:07:23.915 --> 01:07:27.919
KNOPFLER: If you come into a studio
from Oxford Circus,

1090
01:07:28.086 --> 01:07:29.671
you'll be slightly hyper.

1091
01:07:29.796 --> 01:07:32.215
You've come out of the Tube,
or wherever you've come from,

1092
01:07:32.340 --> 01:07:35.969
and you're in a different mental place.

1093
01:07:36.135 --> 01:07:40.765
When you come from the track
up to the studio in Montserrat,

1094
01:07:40.890 --> 01:07:42.642
you go in the kitchen, you see George

1095
01:07:42.767 --> 01:07:44.852
and you get a cup of coffee
and you're wandering around.

1096
01:07:44.978 --> 01:07:48.064
And it's just
more of a home studio vibe.

1097
01:07:48.189 --> 01:07:52.235
But there's no getting away
from the fact that that kind of life,

1098
01:07:52.360 --> 01:07:56.281
a rum-punch evening
and a later start kind of a thing,

1099
01:07:56.406 --> 01:08:01.160
it will start to worm its way
into your work methods.

1100
01:08:01.286 --> 01:08:03.746
GUY FLETCHER: It would be a lie
to say we came away from there

1101
01:08:03.871 --> 01:08:07.584
without being touched deeply
by the place.

1102
01:08:07.709 --> 01:08:11.629
The sound of the island
does come across on the record.

1103
01:08:12.672 --> 01:08:15.550
<i>3 You're so far away from me</i>

1104
01:08:17.010 --> 01:08:20.096
<i>3 You're so far, I just can't see</i>

1105
01:08:20.930 --> 01:08:23.641
<i>3 You're so far away from me</i>

1106
01:08:25.310 --> 01:08:28.688
<i>3 You're so far away from me</i>

1107
01:08:28.813 --> 01:08:31.316
DORSFMAN: I mean,
it was almost too chill in a way.

1108
01:08:31.441 --> 01:08:35.737
I remember, we were doing some track
a couple of weeks into the record,

1109
01:08:35.862 --> 01:08:39.282
and I was looking out
and everybody was in a towel

1110
01:08:39.407 --> 01:08:42.619
with sun cream on the nose, sunglasses.

1111
01:08:42.702 --> 01:08:45.455
They were playing,
like, 40 beats per minute.

1112
01:08:45.580 --> 01:08:49.208
I was like, "We're making a record here!
What is this?"

1113
01:08:49.334 --> 01:08:51.377
It was too mellow.

1114
01:08:51.502 --> 01:08:55.590
At any time in the studio,
it's very easy to lose perspective,

1115
01:08:55.673 --> 01:08:58.676
especially when you're locked up
and it becomes your whole world.

1116
01:08:58.801 --> 01:09:01.137
In fact, George Martin,
down in Montserrat said to me,

1117
01:09:01.262 --> 01:09:04.932
"You know, Neil,
a producer can either drive the bus

1118
01:09:05.058 --> 01:09:09.896
or he can sit next to the driver
with the roadmap, you know?"

1119
01:09:10.021 --> 01:09:14.692
And it was up to me
to sort of keep that energy higher,

1120
01:09:14.817 --> 01:09:16.694
because the record, I think,
was suffering.

1121
01:09:16.819 --> 01:09:20.782
KNOPFLER: Neil would be one of
the most important people in my history.

1122
01:09:20.907 --> 01:09:24.911
You know, it's due to him
that we got back on track.

1123
01:09:25.036 --> 01:09:29.207
We were there a long time
before trying to get it going, but...

1124
01:09:29.999 --> 01:09:35.380
Once we hit a groove we recorded
the album very quickly, really fast.

1125
01:09:35.505 --> 01:09:39.342
All the Brothers in Arms album
was done in a few days.

1126
01:09:39.467 --> 01:09:41.469
() "WALK OF LIFE" BY DIRE STRAITS)

1127
01:09:51.312 --> 01:09:55.066
FLETCHER: In a lot of our spare time,
we used to go down to the beach,

1128
01:09:55.233 --> 01:09:57.819
and we soon noticed
there were a couple of windsurf boards,

1129
01:09:57.944 --> 01:10:00.738
and that Danny was offering
to teach windsurfing.

1130
01:10:00.863 --> 01:10:04.367
I becomes friends
with the Dire Straits band.

1131
01:10:05.118 --> 01:10:07.829
That's after I had taught Alan Clark
and Guy Fletcher to windsurf.

1132
01:10:07.954 --> 01:10:12.083
So one day after I and Alan Clark went
windsurfing and come out, Alan said,

1133
01:10:12.250 --> 01:10:14.585
"I'm taking you up to the AIR Studios
for lunch."

1134
01:10:14.711 --> 01:10:17.213
I said, "OK," and I went up

1135
01:10:17.338 --> 01:10:20.800
and they're there,
and they're mixing the music they did.

1136
01:10:21.718 --> 01:10:25.430
I started dancing to the music,
and then he said to me,

1137
01:10:26.681 --> 01:10:30.643
"You know I wrote a song
on you dancing?" I said,

1138
01:10:30.727 --> 01:10:36.899
"Mark, that's going to be
a damn big recording hit for you.

1139
01:10:37.024 --> 01:10:38.860
I'm predicting to you,

1140
01:10:38.985 --> 01:10:42.822
that is going to be your biggest album
that you ever make."

1141
01:10:42.947 --> 01:10:45.783
Now, it's one
of the biggest album in the world.

1142
01:10:45.908 --> 01:10:47.744
Everybody loves the song Walk of Life.

1143
01:10:48.453 --> 01:10:50.288
4 He do the song about
the sweelt-lovin' woman

1144
01:10:50.413 --> 01:10:52.373
♪ He do the song about the knife

1145
01:10:53.583 --> 01:10:55.293
♫ He do the walk

1146
01:10:55.418 --> 01:10:57.378
<i>3 Do the walk of life</i>

1147
01:10:57.879 --> 01:10:59.756
I Yeah, he do the walk of life...

1148
01:10:59.881 --> 01:11:02.550
DORSFMAN: Brothers in Arms was one
of the first all-digital recordings,

1149
01:11:02.675 --> 01:11:07.472
and that in tandem with MTV
blowing up at the same time,

1150
01:11:07.597 --> 01:11:09.390
I think that's a huge reason

1151
01:11:09.515 --> 01:11:11.934
why everything changed for the band
at that point.

1152
01:11:12.059 --> 01:11:14.103
OK, best British LP.

1153
01:11:14.270 --> 01:11:16.189
Brothers in Arms, Dire Straits.

1154
01:11:16.355 --> 01:11:17.815
(CHEERING)

1155
01:11:19.859 --> 01:11:22.820
KNOPFLER: I didn't have a clue about
how successful the album was.

1156
01:11:22.945 --> 01:11:26.073
I don't think we did.
Never thought about it.

1157
01:11:26.199 --> 01:11:31.579
When Philips invented the CD
and then brought it out,

1158
01:11:31.704 --> 01:11:34.832
that just coincided
with the release of Brothers.

1159
01:11:34.957 --> 01:11:39.962
So they took that and used it as,
"This is what CD sounds like."

1160
01:11:40.087 --> 01:11:43.508
And then, they used all
their sales outlets to play the record.

1161
01:11:43.633 --> 01:11:48.429
So that was an additional thing
that just happened by a fluke, really.

1162
01:11:48.554 --> 01:11:51.390
DORSFMAN: In the '80s,
somebody smart figured out

1163
01:11:51.516 --> 01:11:54.060
that you can make a boatload
of money in the record business.

1164
01:11:54.185 --> 01:11:56.771
And with the cheapness of CDs,

1165
01:11:56.854 --> 01:12:02.610
to make a CD, to fully manufacture,
everything was less than a dollar.

1166
01:12:02.735 --> 01:12:05.404
So, there was a calculation there,

1167
01:12:05.530 --> 01:12:09.700
and like everything in the modern world,
it quickly became monetized.

1168
01:12:10.117 --> 01:12:15.039
MAN: There was a lot of excitement
associated with the coming of the CD.

1169
01:12:15.540 --> 01:12:16.833
The consumer loved it.

1170
01:12:16.958 --> 01:12:20.753
As a result, the record industry
exploded at that point.

1171
01:12:20.837 --> 01:12:23.381
(I "BUSTIN' AT THE SEAMS" BY ROBIN
LOXLEY AND WOLFGANG BLACK)

1172
01:12:29.095 --> 01:12:31.180
GLOVER: It was a real shot in the arm,
coming to Montserrat.

1173
01:12:31.347 --> 01:12:34.350
It was a real special event for us.

1174
01:12:34.475 --> 01:12:38.938
It still is, it's in our memories,
it's still our favorite album.

1175
01:12:48.531 --> 01:12:51.617
ROBINSON: For us, the Rolling Stones
coming to the studio was a big thing.

1176
01:12:51.742 --> 01:12:55.955
Because obviously, George
is more associated with the Beatles,

1177
01:12:56.080 --> 01:13:00.084
and we'd had Keith Richards in doing
the X-Pensive Winos and it was fabulous.

1178
01:13:00.209 --> 01:13:03.462
OLIVER:
I was talking to Keith Richards before,

1179
01:13:03.588 --> 01:13:05.673
when he came to do his solo.

1180
01:13:05.798 --> 01:13:07.675
He did a solo record.

1181
01:13:07.800 --> 01:13:08.885
I was talking to him

1182
01:13:09.010 --> 01:13:12.847
and I told him, "The Rolling Stones
is one of my favorite bands."”

1183
01:13:12.930 --> 01:13:15.683
I asked him
if they were coming back together.

1184
01:13:15.808 --> 01:13:20.396
And he said to me, "I am the only man
who could put the band back together,

1185
01:13:20.521 --> 01:13:23.190
and I'm going to put it back together
and we'll come here and record.”

1186
01:13:23.316 --> 01:13:25.735
- And they did come to Montserrat.
- Yeah, man.

1187
01:13:25.860 --> 01:13:29.405
Keith has always insisted
that Mick is the lead singer,

1188
01:13:29.530 --> 01:13:32.491
as he is in the Rolling Stones,
and he shouldn't do anything else.

1189
01:13:32.617 --> 01:13:33.993
They just weren't getting on.

1190
01:13:34.118 --> 01:13:35.620
(CHEERING)

1191
01:13:35.745 --> 01:13:37.830
REPORTER: We might as well start
by posing the question

1192
01:13:37.914 --> 01:13:39.916
of whether the release
of a Mick Jagger solo album

1193
01:13:40.041 --> 01:13:41.751
means the end of the Rolling Stones?

1194
01:13:41.876 --> 01:13:47.506
I'd done stuff with other people
and the odd thing here and there.

1195
01:13:47.632 --> 01:13:51.177
I'd obviously played with other bands
and jammed around,

1196
01:13:51.302 --> 01:13:53.220
but I thought it was a good moment

1197
01:13:53.346 --> 01:13:56.098
to break the pattern
of just doing a Stones album

1198
01:13:56.223 --> 01:14:00.311
and just do something of my own
for a change and step out a bit.

1199
01:14:00.478 --> 01:14:04.982
If Mick's albums had have been
blockbusters, so to speak,

1200
01:14:05.107 --> 01:14:07.735
whatever that means, uh...

1201
01:14:09.487 --> 01:14:13.658
it would be very unlikely
that I would be leaving tomorrow,

1202
01:14:13.783 --> 01:14:16.035
to start making a new Stones album.

1203
01:14:16.160 --> 01:14:18.829
(♫ "BLINDED BY THE SUN"
BY NICK NOLAN)

1204
01:14:23.793 --> 01:14:25.044
KIMSEY: Going down to Montserrat,

1205
01:14:25.169 --> 01:14:27.171
I was quite fearful
of going down with the Stones,

1206
01:14:27.296 --> 01:14:32.218
because working on four or five albums
with them previously,

1207
01:14:32.343 --> 01:14:35.846
I knew
that they were very much city bound.

1208
01:14:35.972 --> 01:14:37.974
(STEEL DRUM MUSIC)

1209
01:14:40.351 --> 01:14:45.815
I think they were quite amazed
how normal everybody was, really.

1210
01:14:45.940 --> 01:14:49.610
It's like when a band like the Stones
suddenly appears on the island,

1211
01:14:49.735 --> 01:14:55.366
the expectation can be something so big,
it can freak you out.

1212
01:14:55.908 --> 01:14:59.537
MORGAN: Keith Richards, all the guys,

1213
01:14:59.662 --> 01:15:04.667
they drink a lot,
they smoke a lot, they eat a lot.

1214
01:15:04.792 --> 01:15:08.004
As I say,
they were a whole set of good guys.

1215
01:15:08.087 --> 01:15:10.506
(DRUM ROLL)

1216
01:15:10.631 --> 01:15:12.717
(LAUGHTER)

1217
01:15:12.842 --> 01:15:14.093
(GUITAR PLAYING)

1218
01:15:14.218 --> 01:15:17.179
Don't go mad on the drums though, OK?

1219
01:15:17.304 --> 01:15:19.515
KIMSEY: Looking at the body language

1220
01:15:19.640 --> 01:15:22.351
between, especially Mick and Keith
in Montserrat,

1221
01:15:22.518 --> 01:15:24.353
it was very different to what I'd seen,

1222
01:15:24.520 --> 01:15:29.900
and this was one of the most friendly
and warming atmospheres

1223
01:15:30.026 --> 01:15:31.694
I've seen between Mick and Keith.

1224
01:15:36.198 --> 01:15:38.284
<i>3 Our heartbeats</i>

1225
01:15:39.660 --> 01:15:42.288
RICHARDS: We both agreed
the best thing for the both of us

1226
01:15:42.413 --> 01:15:43.998
is to get together. Like, nobody else.

1227
01:15:44.081 --> 01:15:47.460
And it's very strange
that it's easy between the two of us.

1228
01:15:47.626 --> 01:15:50.755
It's when other people are around
that it can be a problem.

1229
01:15:50.880 --> 01:15:53.632
I think after the second day,
we had three or four songs already.

1230
01:15:53.758 --> 01:15:56.635
When you start off on a roll like that,
it helps, you know?

1231
01:15:57.595 --> 01:16:01.682
KIMSEY: Peter Mensch and Cliff Burnstein
came down,

1232
01:16:01.807 --> 01:16:04.477
and we were listening back
to Mixed Emotions.

1233
01:16:04.643 --> 01:16:06.353
Peter Mensch was talking to Keith

1234
01:16:06.479 --> 01:16:09.815
suggesting that an arrangement change
should be made.

1235
01:16:09.940 --> 01:16:14.612
At which point,
Keith delved into his doctor's bag,

1236
01:16:14.737 --> 01:16:17.948
one of these beautiful
old leather doctor's bags,

1237
01:16:18.074 --> 01:16:22.620
and bought out a knife
and pinned it between his legs,

1238
01:16:22.745 --> 01:16:25.956
and said to Peter
something in the terms of,

1239
01:16:26.082 --> 01:16:30.336
"Listen, sonny, nobody tells
the Rolling Stones how to write a song.”

1240
01:16:30.461 --> 01:16:34.673
Which I thought was classic, wonderful.
And the arrangement never changed.

1241
01:16:34.799 --> 01:16:37.968
If I get up there,
we need another chord in there.

1242
01:16:38.094 --> 01:16:42.765
- I think we have to take another minor.
- Yeah, one more minor, F, F and G.

1243
01:16:42.890 --> 01:16:46.143
♫ With mixed emotions

1244
01:16:46.894 --> 01:16:50.815
<i>♪ And you're not the only one</i>

1245
01:16:56.070 --> 01:16:57.113
I like it.

1246
01:16:57.238 --> 01:17:03.369
KIMSEY: Montserrat was a huge part
of rebooting the Stones,

1247
01:17:03.494 --> 01:17:07.039
helping them get back together,
particularly Mick and Keith.

1248
01:17:07.123 --> 01:17:09.667
It was pretty sad when we all left

1249
01:17:09.792 --> 01:17:13.879
because they hadn't been that close
for such a long time.

1250
01:17:14.004 --> 01:17:16.465
There was a sense of, um, you know,

1251
01:17:16.632 --> 01:17:19.468
when you finish school
for the first time and you all break up.

1252
01:17:19.635 --> 01:17:22.138
It was a bit like that,
breaking up for the summer holidays.

1253
01:17:22.263 --> 01:17:24.431
They weren't going to see each other
for a long time.

1254
01:17:24.557 --> 01:17:26.225
RICHARDS: One, two, three.

1255
01:17:26.350 --> 01:17:29.186
(♫ "MIXED EMOTIONS"
BY THE ROLLING STONES)

1256
01:17:32.815 --> 01:17:35.067
<i>♪ Button your lip, baby</i>

1257
01:17:36.068 --> 01:17:37.736
4 Button your coat

1258
01:17:39.280 --> 01:17:41.782
♫ Let's go out dancing

1259
01:17:43.075 --> 01:17:44.410
♫ Let's rock and roll

1260
01:17:46.495 --> 01:17:49.206
♫ You're not the only one

1261
01:17:49.999 --> 01:17:52.251
& With mixed emotions...

1262
01:17:53.335 --> 01:17:54.587
(CHEERING)

1263
01:17:54.753 --> 01:17:56.172
JAGGER: Good morning, everybody.

1264
01:17:56.297 --> 01:17:59.758
We're very pleased to announce
that we are doing a big tour this year.

1265
01:17:59.884 --> 01:18:03.053
And we've got a new album which comes
out and that's called Steel Wheels.

1266
01:18:03.179 --> 01:18:05.431
The first single's called
Mixed Emotions.

1267
01:18:05.556 --> 01:18:07.183
I know you're dying to ask questions,

1268
01:18:07.308 --> 01:18:09.894
like, "Will this be
the last tour you ever do?"

1269
01:18:10.436 --> 01:18:14.190
KIMSEY: Well, the Stones were
the last band to record in Montserrat.

1270
01:18:14.273 --> 01:18:18.068
There's been a few studios that they've
been the last people to record in,

1271
01:18:18.194 --> 01:18:21.488
but they're not the reason
that they've closed down.

1272
01:18:21.614 --> 01:18:24.074
It's always an act of God.

1273
01:18:24.200 --> 01:18:27.203
The thing about the Stones
is that they do this thing

1274
01:18:27.328 --> 01:18:29.914
where, in the old days,
they used to trash things.

1275
01:18:30.039 --> 01:18:34.960
They said, "This is what we usually do.
On the last day, we trash the place."

1276
01:18:35.085 --> 01:18:36.921
In a way, Hurricane Hugo did it for them

1277
01:18:37.046 --> 01:18:40.883
because as soon as they'd gone,
the hurricane hit.

1278
01:18:41.800 --> 01:18:45.429
GEORGE MARTIN: Hurricane Hugo wiped
us out, it wiped the island out almost.

1279
01:18:46.305 --> 01:18:48.766
There are only 12,000 people
living on the island,

1280
01:18:48.891 --> 01:18:52.978
and 11,000 of them lost their homes.
It was pretty devastating.

1281
01:18:53.103 --> 01:18:55.022
But they picked themselves up

1282
01:18:55.147 --> 01:18:57.274
and it took a year,
or a bit more than a year

1283
01:18:57.399 --> 01:18:59.318
to get back anything like normal.

1284
01:19:02.321 --> 01:19:06.283
I wasn't able to get to Montserrat
after the hurricane

1285
01:19:06.408 --> 01:19:08.244
until after about six weeks.

1286
01:19:08.911 --> 01:19:11.455
So I got a flash lamp
and I went into the studio

1287
01:19:11.580 --> 01:19:13.791
to see how that had fared.

1288
01:19:13.916 --> 01:19:17.753
Went over to the piano
and opened the keyboard,

1289
01:19:17.878 --> 01:19:23.175
and all the ivory keys
were covered in green mold.

1290
01:19:23.259 --> 01:19:26.762
And I realized then we were done.

1291
01:19:32.768 --> 01:19:37.356
ATKIN: By the time the hurricane hit,
it was becoming a burden to them.

1292
01:19:37.481 --> 01:19:41.235
The kind of budgets that people had
were long gone.

1293
01:19:41.318 --> 01:19:45.072
The accountants were really starting
to dig into the music business,

1294
01:19:45.197 --> 01:19:49.201
and it wasn't the era
that we built it for.

1295
01:19:53.414 --> 01:19:55.874
GILES MARTIN: I think technology
changed, things moved to digital.

1296
01:19:56.000 --> 01:19:58.252
And so, just the equipment levels...

1297
01:19:58.335 --> 01:20:00.504
Recording studios
started changing a lot.

1298
01:20:00.629 --> 01:20:02.298
They became more accessible,

1299
01:20:02.423 --> 01:20:04.717
album budgets started getting cut.
All of these things.

1300
01:20:07.803 --> 01:20:10.431
KNOPFLER: Recording studios,
they all have a shelf-life,

1301
01:20:10.556 --> 01:20:17.313
because in the end, they are ruled
by forces that are bigger than us.

1302
01:20:17.438 --> 01:20:19.398
BECKLEY: I think the demise of the album

1303
01:20:19.523 --> 01:20:23.193
is directly related
to the shift from analog to digital.

1304
01:20:23.319 --> 01:20:27.281
A lot of the restrictions we dealt with
in recording analog

1305
01:20:27.364 --> 01:20:32.578
were lovely parameters
to keep the reins kinda tight.

1306
01:20:32.703 --> 01:20:35.247
And with digital came unlimited options,

1307
01:20:35.331 --> 01:20:38.751
and I think things took
a pretty serious shift at that change.

1308
01:20:40.502 --> 01:20:43.213
ROBINSON:
It's as if there is something there

1309
01:20:43.339 --> 01:20:46.216
that drew all that music,
drew all that creativity,

1310
01:20:46.342 --> 01:20:48.427
and then it was like,
"The power's gone now."

1311
01:20:48.552 --> 01:20:50.471
So, that's finished and move on.

1312
01:20:58.937 --> 01:21:00.939
WILLOCK:
We heard that our volcano was dormant,

1313
01:21:01.065 --> 01:21:04.568
but we never understood
until our volcano started erupting

1314
01:21:04.693 --> 01:21:07.404
that dormant
actually meant potentially active.

1315
01:21:08.405 --> 01:21:10.240
And so, I was in the studio.

1316
01:21:10.366 --> 01:21:15.162
One of the technicians came and said,
"Rose, the volcano is erupting.”

1317
01:21:15.287 --> 01:21:17.039
(RUMBLING)

1318
01:21:41.647 --> 01:21:46.527
I sat before the microphone, I said,
"Everybody, I know that you are scared.

1319
01:21:46.652 --> 01:21:50.447
If you feel like praying, pray.
If you feel like crying, cry.

1320
01:21:50.572 --> 01:21:53.826
But I'll be here,
I'll be here with you all the way.

1321
01:21:53.992 --> 01:21:57.746
All the time, I'll be here, just keep
listening to the radio station.

1322
01:21:57.913 --> 01:22:01.667
This is Rose. It's gonna be OK.
Just stay with me."

1323
01:22:06.296 --> 01:22:08.048
CASSELL:
The sky was just, like, frightening.

1324
01:22:08.173 --> 01:22:11.343
Especially,
I can remember the first ash plume

1325
01:22:11.427 --> 01:22:13.137
that went up about 60,000 feet.

1326
01:22:13.262 --> 01:22:15.722
The whole island,
you have bright sunshine like this,

1327
01:22:15.848 --> 01:22:18.684
and suddenly it's like night,
you can't see a thing.

1328
01:22:19.977 --> 01:22:21.437
WOMAN: No one's here.

1329
01:22:21.562 --> 01:22:26.108
RILEY: For me, it was a very,
very bad experience, it was very scary.

1330
01:22:26.233 --> 01:22:29.027
Because one night,
they tell you to go back home.

1331
01:22:29.153 --> 01:22:31.738
Before the night is out, you gotta move
in the middle of the night again,

1332
01:22:31.864 --> 01:22:36.285
and the next day you don't know
what to do, where you're gonna sleep.

1333
01:22:36.410 --> 01:22:40.038
Because all your mind,
"Should I go home?

1334
01:22:40.164 --> 01:22:41.457
Should I stay in the shelter?"

1335
01:22:41.582 --> 01:22:43.333
You don't know what to do.
You're confused.

1336
01:22:43.459 --> 01:22:45.294
(EXPLOSION)

1337
01:23:04.021 --> 01:23:07.774
CASSELL: And you know, we didn't
understand the magnitude of an eruption,

1338
01:23:07.900 --> 01:23:09.234
what it can do to an island.

1339
01:23:09.359 --> 01:23:13.655
It entirely changed the entire landscape
in Montserrat and the whole country.

1340
01:23:13.780 --> 01:23:16.783
And I was amazed what could happen.

1341
01:23:20.704 --> 01:23:25.083
SILCOTT: Many, almost all Montserratians
were displaced.

1342
01:23:25.792 --> 01:23:28.587
Whether they were
on that side or this side,

1343
01:23:28.712 --> 01:23:31.256
it was a rough time for everyone here.

1344
01:23:31.381 --> 01:23:34.718
And you just had to go somewhere else
and start over.

1345
01:23:35.344 --> 01:23:36.720
I hate the volcano.

1346
01:23:36.845 --> 01:23:40.682
I hated the fact
that it did so much to Montserrat.

1347
01:23:48.106 --> 01:23:50.442
STING:
I remember sailing past Montserrat

1348
01:23:50.526 --> 01:23:53.487
a few years after the volcano erupted,

1349
01:23:53.570 --> 01:23:56.114
and sailing past Plymouth

1350
01:23:56.240 --> 01:24:00.035
and just seeing
what looked like a nuclear winter.

1351
01:24:00.160 --> 01:24:02.287
It was covered in white dust.

1352
01:24:02.412 --> 01:24:07.209
This thriving, bustling Caribbean town
was a ghost town.

1353
01:24:07.334 --> 01:24:10.629
And it was frightening and upsetting,

1354
01:24:10.754 --> 01:24:13.257
because I had so many happy memories
of that place

1355
01:24:13.382 --> 01:24:16.969
with my bandmates,
my children, my family.

1356
01:24:17.135 --> 01:24:23.058
It makes me actually kind of tear up
when I think about it because...

1357
01:24:23.934 --> 01:24:28.397
it's a special place
that was taken away,

1358
01:24:28.522 --> 01:24:32.359
that will never be the same again.

1359
01:24:32.484 --> 01:24:37.698
You can never go back
and get that same energy again.

1360
01:24:37.823 --> 01:24:40.617
And for the people that lived there,

1361
01:24:40.742 --> 01:24:46.248
for them to lose everything
in just one fleeting instant,

1362
01:24:46.373 --> 01:24:47.833
it devastates me.

1363
01:25:15.152 --> 01:25:17.738
WILLOCK: Most of us cried,
because we lost our town.

1364
01:25:18.864 --> 01:25:22.409
We'd lost that important,
integral part of our history.

1365
01:25:23.702 --> 01:25:26.455
And I can close my eyes
and I'm still back there.

1366
01:25:32.252 --> 01:25:36.465
But since the volcanic activity,
Montserrat has grown in size,

1367
01:25:36.590 --> 01:25:40.927
and for me, I consider it to be
a pleasure to be around at this time

1368
01:25:41.053 --> 01:25:43.555
to see my island grow.

1369
01:25:43.639 --> 01:25:47.934
Because look at all the ash
and the new fertilizer it has brought.

1370
01:25:48.060 --> 01:25:52.606
And so, I consider the volcano
to be a perpetual part of who we are.

1371
01:26:00.656 --> 01:26:03.492
JUDY MARTIN: You can't really walk
around the estate now.

1372
01:26:04.701 --> 01:26:08.747
And so, I feel it was of a time.

1373
01:26:09.498 --> 01:26:13.543
And now it should slowly go back
to the jungle where it came from.

1374
01:26:19.966 --> 01:26:22.928
DORSFMAN: The '80s are like
a hundred years in the rear-view mirror.

1375
01:26:23.053 --> 01:26:28.225
It was a very special time,
and quality of studio, and vibe-wise,

1376
01:26:28.350 --> 01:26:32.729
the '80s was like the Renaissance,
the golden era of studio recording.

1377
01:26:37.067 --> 01:26:40.696
COPELAND: Those studios
are kind of an era that has gone.

1378
01:26:40.779 --> 01:26:44.700
Some types of music
are best recorded in a big room,

1379
01:26:44.825 --> 01:26:48.829
but you just get your drums
in that big room for a day,

1380
01:26:48.954 --> 01:26:52.749
and then you go back home and fiddle
with it on your own gear at home.

1381
01:26:52.874 --> 01:26:55.752
It's just not the way
artists make records anymore.

1382
01:26:59.047 --> 01:27:02.300
URE: There's footage of that place,
there are photographs of that place,

1383
01:27:02.426 --> 01:27:06.513
there are living memories of that place.
That's history.

1384
01:27:06.638 --> 01:27:10.100
Whether it's around today,

1385
01:27:10.267 --> 01:27:13.270
it's something
that we still carry with us,

1386
01:27:13.395 --> 01:27:15.814
the ones who were lucky enough
to experience it.

1387
01:27:15.939 --> 01:27:19.067
It's still vibrant and alive to us.

1388
01:27:22.404 --> 01:27:24.531
BECKLEY: As technology
has evolved to the point

1389
01:27:24.656 --> 01:27:28.535
where, unbelievable, and people make
whole albums on their phone.

1390
01:27:28.660 --> 01:27:33.749
But I think the actual ingredients,
when you conceive of something,

1391
01:27:33.832 --> 01:27:37.586
head, and your heart,
your hands to play an instrument,

1392
01:27:37.711 --> 01:27:40.380
you use some kind of a recording device
to put it down,

1393
01:27:40.505 --> 01:27:42.674
those elements haven't changed.

1394
01:27:53.560 --> 01:27:56.062
GEORGE MARTIN: It's like seeing
something you've created

1395
01:27:56.188 --> 01:27:58.982
falling into disrepair.

1396
01:27:59.649 --> 01:28:01.818
But it's like everything in life,
isn't it?

1397
01:28:01.943 --> 01:28:03.904
Everything has a period.

1398
01:28:04.029 --> 01:28:07.407
You know, you bring something
out of nothing,

1399
01:28:07.532 --> 01:28:11.411
and it always goes back
to nothing again, whatever.

1400
01:28:12.704 --> 01:28:14.873
GILES MARTIN: My father was a man
who got enormous pleasure

1401
01:28:14.998 --> 01:28:18.168
from other people's happiness.
He passed away years ago,

1402
01:28:18.335 --> 01:28:21.588
but he passed away as a very content man
with what he'd done with his life.

1403
01:28:21.713 --> 01:28:23.965
And Montserrat
was a huge part of that life,

1404
01:28:24.090 --> 01:28:27.761
and a huge part of a dream that
he fulfilled in doing something amazing.

1405
01:28:28.136 --> 01:28:33.725
I think that it had its natural end,
and that it was closure for him.

1406
01:28:34.893 --> 01:28:38.104
(TUNES GUITAR)

1407
01:28:39.564 --> 01:28:41.441
Shall we tune the guitar for you, man?

1408
01:28:41.566 --> 01:28:44.820
COOPER: George knew the space
between the notes

1409
01:28:44.903 --> 01:28:48.323
was as exciting as the note you played.

1410
01:28:48.448 --> 01:28:53.578
That rhythm that keeps us alive,
the heartbeat, it's in all of us.

1411
01:28:53.703 --> 01:28:55.914
It's the heartbeat
you hear in your mother's womb

1412
01:28:56.039 --> 01:28:57.541
that entices you out to dance.

1413
01:28:57.666 --> 01:29:01.336
And we need that. We need to touch base
with what we do as human beings.

1414
01:29:01.461 --> 01:29:05.382
And what better an example
than making music?

1415
01:29:05.507 --> 01:29:07.133
And it's about collaboration.

1416
01:29:07.259 --> 01:29:12.514
It's about the dream that George had
of that wonderful space in Montserrat

1417
01:29:12.639 --> 01:29:15.851
where you had the sun,
the sea, nature,

1418
01:29:16.852 --> 01:29:19.396
each other's company and music.

1419
01:29:19.521 --> 01:29:21.523
() "WALK OF LIFE" BY DIRE STRAITS)

1420
01:29:36.705 --> 01:29:37.622
4 Whoo-hoo

1421
01:29:39.291 --> 01:29:40.292
4 Whoo-hoo

1422
01:29:46.590 --> 01:29:49.676
♪ Here comes Johnny
singing oldies, goldies

1423
01:29:49.801 --> 01:29:52.178
♫ "Be-Bop-A-Lula”, baby, "What'd I Say”

1424
01:29:52.304 --> 01:29:54.890
♪ Here comes Johnny
singing "I Gotta Woman"

1425
01:29:55.015 --> 01:29:57.893
<i>3 Down in the tunnel
trying to make it pay</i>

1426
01:29:57.976 --> 01:30:00.812
4 He got the action,
he got the motion

1427
01:30:00.896 --> 01:30:03.857
<i>3 Oh, yeah, the boy can play</i>

1428
01:30:03.940 --> 01:30:06.151
<i>3 Dedication, devotion</i>

1429
01:30:06.276 --> 01:30:08.737
<i>♪ And turning all the night time
into the day</i>

1430
01:30:08.862 --> 01:30:11.239
4 He do the song about
the sweelt-lovin' woman

1431
01:30:11.406 --> 01:30:13.158
♪ He do the song about the knife

1432
01:30:14.326 --> 01:30:18.622
<i>3 He do the walk, do the walk of life</i>

1433
01:30:18.747 --> 01:30:20.790
4 Yeah, he do the walk of life

1434
01:30:26.922 --> 01:30:28.214
4 Whoo-hoo

1435
01:30:31.426 --> 01:30:34.095
♪ Here comes Johnny
gonna tell you the story

1436
01:30:34.220 --> 01:30:36.932
♫ Hand me down my walkin' shoes

1437
01:30:37.015 --> 01:30:39.684
♪ Here comes Johnny
with the power and the glory

1438
01:30:39.809 --> 01:30:42.687
♫ Backbeat the talkin' blues

1439
01:30:42.812 --> 01:30:45.649
<i>♪ He got the action, he got the motion</i>

1440
01:30:45.774 --> 01:30:48.109
<i>3 Oh, yeah, the boy can play</i>

1441
01:30:48.234 --> 01:30:50.737
<i>3 Dedication, devotion</i>

1442
01:30:50.862 --> 01:30:53.198
4 Turning all the night time
into the day

1443
01:30:53.323 --> 01:30:55.784
<i>♪ The song about the sweet-lovin' woman</i>

1444
01:30:55.909 --> 01:30:58.453
♪ He do the song about the knife

1445
01:30:58.578 --> 01:31:02.582
4 And he do the walk,
he do the walk of life

1446
01:31:03.291 --> 01:31:05.210
4 Yeah, he do the walk of life

1447
01:31:19.307 --> 01:31:20.558
4 Whoo-hoo-hoo

1448
01:31:26.982 --> 01:31:29.859
♪ Here comes Johnny
singing oldies, goldies

1449
01:31:29.985 --> 01:31:32.404
♫ "Be-Bop-A-Lula”, baby, "What'd I Say”

1450
01:31:32.570 --> 01:31:35.073
♪ Here comes Johnny
singing "I Gotta Woman"

1451
01:31:35.198 --> 01:31:38.034
♫ Down in the tunnels
trying to make it pay

1452
01:31:38.159 --> 01:31:40.870
4 He got the action,
he got the motion

1453
01:31:40.996 --> 01:31:43.665
<i>3 Oh, yeah, the boy can play</i>

1454
01:31:43.790 --> 01:31:46.209
<i>3 Dedication, devotion</i>

1455
01:31:46.334 --> 01:31:48.795
<i>♪ And turning all the night time
into the day</i>

1456
01:31:48.920 --> 01:31:51.506
4 And after all the violence
and double talk

1457
01:31:51.631 --> 01:31:54.092
<i>3 There's just a song in all
the trouble and the strife</i>

1458
01:31:54.217 --> 01:31:58.638
♫ You do the walk,
yeah, you do the walk of life

1459
01:31:58.763 --> 01:32:00.724
& Hmm, they do the walk of life

1460
01:32:04.144 --> 01:32:05.186
4 Whoo-hoo

1461
01:32:21.870 --> 01:32:23.038
4 Whoo-hoo-hoo

1462
01:32:33.089 --> 01:32:34.549
4 Whoo-hoo-hoo

1463
01:32:37.677 --> 01:32:38.678
4 Whoo-hoo

1464
01:32:44.267 --> 01:32:46.019
4 Whoo-hoo-hoo

1465
01:35:04.949 --> 01:35:09.120
Subtitles: [YUNO Media Group