1
00:00:02,000 --> 00:00:07,000
Downloaded from
YTS.MX
2
00:00:08,000 --> 00:00:13,000
Official YIFY movies site:
YTS.MX
3
00:01:27,379 --> 00:01:29,881
Going to Montserrat
was like going into a dream.
4
00:01:31,258 --> 00:01:32,634
It's always different.
5
00:01:32,759 --> 00:01:35,596
Reality's always different
from what you think it will be.
6
00:01:43,395 --> 00:01:48,400
I love the idea of wilderness
on the edge of civilization.
7
00:01:49,192 --> 00:01:56,158
I think the volcano itself is a kind
of presiding spirit over the island,
8
00:01:56,283 --> 00:01:58,535
and it definitely gives you a sense
9
00:01:58,619 --> 00:02:02,748
that you're living
on the edge of something seismic.
10
00:02:08,754 --> 00:02:13,008
When the volcano went off,
that was a pinnacle point of change.
11
00:02:13,175 --> 00:02:16,720
A point where nothing was ever
gonna be quite the same again.
12
00:02:16,845 --> 00:02:21,600
In the way we recorded,
in the way that music was dealt with.
13
00:02:21,683 --> 00:02:24,895
Those magical moments
are gonna be no longer.
14
00:02:28,482 --> 00:02:32,444
It was a glorious dream
that George Martin had.
15
00:02:32,569 --> 00:02:35,280
And it's so sad, as always,
16
00:02:35,405 --> 00:02:40,827
to see a glorious dream come to an end
and be destroyed.
17
00:02:41,828 --> 00:02:43,914
It's Atlantis now, isn't it?
18
00:03:41,430 --> 00:03:44,057
(♪ "HOT HOT HOT" BY ARROW)
19
00:03:47,310 --> 00:03:50,772
♫ Ole, ole, ole, ole
20
00:03:51,314 --> 00:03:54,901
♫ Ole, ole, ole, ole
21
00:03:55,026 --> 00:03:56,611
3 Feeling hot, hot, hot
22
00:03:59,030 --> 00:04:00,907
3 Feeling hot, hot, hot
23
00:04:02,325 --> 00:04:05,579
VYE ROBINSON: Montserrat's in the
Caribbean. It's very close to Antigua.
24
00:04:05,704 --> 00:04:09,124
But because it's so small,
it really is that hidden gem.
25
00:04:09,291 --> 00:04:12,252
They used to call it the Hidden Gem
and the Emerald Isle of the Caribbean.
26
00:04:12,377 --> 00:04:15,797
Montserrat was colonized by the Irish.
That's why the island is so different
27
00:04:15,922 --> 00:04:19,843
because it's just a really friendly
place, it's just got a magic about it.
28
00:04:19,968 --> 00:04:23,388
4 Keep your spirit,
come on, let's do it!
29
00:04:23,513 --> 00:04:24,973
3 Feeling hot, hot, hot
30
00:04:26,266 --> 00:04:28,143
DESMOND RILEY:
We had one big superstar.
31
00:04:28,310 --> 00:04:32,272
Mighty Arrow. Everybody around the
world would know Arrow, Hot Hot Hot.
32
00:04:32,397 --> 00:04:34,816
That's our music.
We call it soca music.
33
00:04:35,776 --> 00:04:38,195
JUSTIN "HERO" CASSELL:
Soca is a hybrid of calypso music.
34
00:04:38,361 --> 00:04:43,283
Calypso music originated in Nigeria
and came to the West Indies.
35
00:04:43,408 --> 00:04:46,536
These islands, you know,
they were part of the slave trade.
36
00:04:46,661 --> 00:04:49,539
And then you had the calypso carnivals.
37
00:04:51,458 --> 00:04:53,335
I Keep people rockin'
38
00:04:53,877 --> 00:04:56,171
MINETTA ALLEN FRANCIS:
Montserrat is just a lovely place.
39
00:04:56,338 --> 00:04:58,840
There is an atmosphere in Montserrat
40
00:04:58,965 --> 00:05:01,760
that just makes you want to live
in Montserrat.
41
00:05:04,971 --> 00:05:08,183
MIDGE URE: There was no doubt
there was a magic on Montserrat.
42
00:05:08,350 --> 00:05:11,686
This island was kind of untouched.
43
00:05:11,812 --> 00:05:16,399
There were no big corporate signs
for chain restaurants.
44
00:05:16,525 --> 00:05:18,819
And here was no American money in there,
45
00:05:18,902 --> 00:05:22,697
just these old shacks and tin roofs,
46
00:05:22,823 --> 00:05:25,826
and brightly colored
and painted beautifully.
47
00:05:25,909 --> 00:05:28,411
And you felt
as though you were in a time warp.
48
00:05:28,537 --> 00:05:32,833
This little island had a heart
that you could feel, you know?
49
00:05:35,794 --> 00:05:39,673
KNOPFLER: It didn't have the
sophistication you'd feel straight away
50
00:05:39,798 --> 00:05:43,718
if you went to Antigua
or anywhere else like that.
51
00:05:43,844 --> 00:05:47,472
It was far more innocent,
far more quiet.
52
00:05:48,974 --> 00:05:51,226
STING: There's definitely a mystique
about the island.
53
00:05:51,393 --> 00:05:53,687
It's quite a place, actually.
It's really dramatic.
54
00:05:53,812 --> 00:05:56,857
These, you know, very sheer cliffs.
55
00:05:56,982 --> 00:05:59,359
And, of course,
the fertility of the island
56
00:05:59,484 --> 00:06:04,614
is a function of this volcanic ash
that comes down periodically.
57
00:06:04,739 --> 00:06:06,908
It hadn't come down for a long time,
58
00:06:07,033 --> 00:06:10,996
but the island was blooming
and blossoming, everything grew.
59
00:06:11,121 --> 00:06:15,500
I often wonder why George Martin
chose a volcanic island
60
00:06:15,625 --> 00:06:17,919
to put his beautiful studio on.
61
00:06:18,044 --> 00:06:19,588
(BIG BEN CHIMES)
62
00:06:26,511 --> 00:06:30,265
Originally, Dad, he was a mad visionary
in lots of ways.
63
00:06:30,432 --> 00:06:32,726
I think always liked the idea
of pushing boundaries.
64
00:06:32,851 --> 00:06:34,853
Think about what he did
with the Beatles in the '60s.
65
00:06:34,936 --> 00:06:37,314
He pushed the boundaries
with the recording studios.
66
00:06:37,480 --> 00:06:38,899
He wanted to do something different.
67
00:06:39,441 --> 00:06:41,443
I bust a string straight away.
68
00:06:42,444 --> 00:06:43,778
(RUNS FINGERS UP KEYBOARD)
69
00:06:43,904 --> 00:06:46,323
There were some great moments singing,
Paul, but it wasn't the one.
70
00:06:46,489 --> 00:06:49,284
It's the second one
out of every three is the one.
71
00:06:49,451 --> 00:06:52,621
Do you want to hear any of it before you
do any more or go straight for another?
72
00:06:52,746 --> 00:06:55,248
JOHN LENNON: They either say
that George Martin did everything
73
00:06:55,415 --> 00:06:57,709
or the Beatles did everything.
It was neither one, you know?
74
00:06:58,418 --> 00:07:03,632
He had a very great musical knowledge
and background.
75
00:07:03,757 --> 00:07:06,676
So he could translate for us
and suggest a lot of things.
76
00:07:06,801 --> 00:07:08,762
We'd be saying we want it to go...
77
00:07:08,887 --> 00:07:10,513
000-000 and eee-eee.
78
00:07:10,639 --> 00:07:14,225
He'd say, "Well, look, chaps,
I thought of this this afternoon.
79
00:07:14,351 --> 00:07:16,937
Last night, I was talking to..."
whoever he was talking to.
80
00:07:17,062 --> 00:07:18,605
"And I came up with this."
81
00:07:18,730 --> 00:07:21,650
And we'd say,
"Great. Great. We'll put it on here."
82
00:07:21,775 --> 00:07:24,277
It's hard to say who did what, you know?
83
00:07:24,444 --> 00:07:26,613
I mean, he taught us a lot.
I'm sure we taught him a lot.
84
00:07:26,738 --> 00:07:29,324
GERRY BECKLEY: A record producer
is not like a film producer.
85
00:07:29,491 --> 00:07:31,952
A record producer
is much more like a film director.
86
00:07:32,077 --> 00:07:35,038
One thing that was unique to George
that a lot of producers didn't have
87
00:07:35,163 --> 00:07:37,832
is that he was also the arranger.
88
00:07:37,958 --> 00:07:41,628
That's very often a completely
different person, different element.
89
00:07:41,753 --> 00:07:43,672
In George's case,
his work as an arranger
90
00:07:43,797 --> 00:07:47,217
would be, for example, the strings
in Eleanor Rigby or something.
91
00:07:47,342 --> 00:07:50,387
If you think of some
of the famous producers of our time,
92
00:07:50,553 --> 00:07:53,640
the wall of sound, Phil Spector,
93
00:07:53,765 --> 00:07:56,810
where he controlled
every note of every instrument
94
00:07:56,935 --> 00:08:00,397
and was just a tyrant and stuff,
George was not at all like that.
95
00:08:00,563 --> 00:08:03,358
But there was a serious element
96
00:08:03,525 --> 00:08:09,239
of just kind of good Pythonesque
British crazy in there.
97
00:08:09,364 --> 00:08:10,740
Just a lovely combination.
98
00:08:10,865 --> 00:08:15,870
(& "THREE AMERICAN SKETCHES:
II. OLD BOSTON" BY GEORGE MARTIN)
99
00:08:21,001 --> 00:08:25,588
He knew how to get from you
the best that you could give.
100
00:08:25,714 --> 00:08:28,133
Which was extraordinary,
in the most wonderful way.
101
00:08:28,258 --> 00:08:32,053
Elegant, gentlemanly,
loving, nurturing way.
102
00:08:32,178 --> 00:08:34,931
He would make any musician
a much better musician
103
00:08:35,015 --> 00:08:36,683
by spending five minutes with them.
104
00:08:36,808 --> 00:08:39,686
You can put a very soft flute
against a huge brass chord
105
00:08:39,811 --> 00:08:41,104
and still make it sound loud.
106
00:08:41,229 --> 00:08:43,815
And then cut up the tape,
threw it up in the air,
107
00:08:43,940 --> 00:08:46,359
until it settled down on the ground,
and joined them up again together.
108
00:08:46,526 --> 00:08:50,280
So it just became
like a patchwork quilt.
109
00:08:50,405 --> 00:08:52,323
This is the kind of thing
you can do on a recording,
110
00:08:52,449 --> 00:08:54,409
which you obviously
couldn't possibly do it live
111
00:08:54,576 --> 00:08:56,536
because it is making up music
as you go along.
112
00:08:56,661 --> 00:09:00,582
He's largely responsible,
along with the Beatles,
113
00:09:00,707 --> 00:09:05,962
for giving everybody
that came after them in music a career.
114
00:09:06,046 --> 00:09:11,468
What the Beatles did with their albums,
no one will ever top that.
115
00:09:12,010 --> 00:09:15,346
NEWSREEL: It is a moment in history
that may one day be known
116
00:09:15,472 --> 00:09:19,059
as the day
the British Empire was no more.
117
00:09:19,184 --> 00:09:23,188
The Beatles have decided
to call it a day.
118
00:09:23,313 --> 00:09:25,482
BECKLEY: Well, a lot of things
happened at that time.
119
00:09:25,648 --> 00:09:29,402
Obviously, the Beatles broke up,
and so, George was free from EMI.
120
00:09:29,569 --> 00:09:31,821
So I guess he became his own boss.
121
00:09:31,946 --> 00:09:34,866
But frankly, if you're known
as the Beatles' producer,
122
00:09:34,991 --> 00:09:36,367
anything you do after that,
123
00:09:36,493 --> 00:09:39,454
it's virtually impossible
to get anywhere near that.
124
00:09:39,621 --> 00:09:41,581
GILES MARTIN: I think my dad
was tired of the confines
125
00:09:41,706 --> 00:09:43,750
of a very rigid company structure,
126
00:09:43,875 --> 00:09:46,586
which was Abbey Road,
or EMI Studios as it was at the time.
127
00:09:46,711 --> 00:09:49,631
And he wanted to build a place
which was more artist friendly.
128
00:09:49,756 --> 00:09:51,883
Abbey Road
obviously created great music,
129
00:09:52,008 --> 00:09:53,676
but they always found...
130
00:09:53,802 --> 00:09:55,595
I mean, the fridge
was locked every night.
131
00:09:55,720 --> 00:09:59,182
They had to break in to get milk
for their cups of tea.
132
00:09:59,307 --> 00:10:02,393
Even the loo roll had Abbey Road on it,
so you wouldn't steal it.
133
00:10:02,519 --> 00:10:05,396
It was very much a...
It was like a proper English factory.
134
00:10:05,522 --> 00:10:09,192
MALCOLM ATKIN: There's no doubt
in my mind that George had a vision
135
00:10:09,317 --> 00:10:12,737
of how recording
could or should be done.
136
00:10:12,862 --> 00:10:18,910
Through the '70s was a period
of great excess in the music business.
137
00:10:19,369 --> 00:10:25,083
Um, it was an era when
there wasn't such a thing as a budget.
138
00:10:25,166 --> 00:10:27,544
There was a need to make some music.
139
00:10:27,710 --> 00:10:31,256
COOPER: The '70s
was one of the most exciting periods
140
00:10:31,381 --> 00:10:33,967
in musical recording time.
141
00:10:34,092 --> 00:10:36,511
And a few times,
I've been in EMI, Abbey Road,
142
00:10:36,678 --> 00:10:41,057
and normally I would bump into George,
but he wasn't there.
143
00:10:41,141 --> 00:10:44,018
And I wondered what was going on,
and they said,
144
00:10:44,144 --> 00:10:47,480
"He's making his own studio now.
AIR London it's gonna be called.”
145
00:10:48,648 --> 00:10:51,818
' Will you meet me in the middle?
146
00:10:51,943 --> 00:10:55,071
I Will you meet me in the air?
147
00:10:55,155 --> 00:10:56,531
DAVE HARRIES: We had four studios.
148
00:10:56,698 --> 00:10:59,367
Oxford Circus,
right in the middle of town.
149
00:10:59,492 --> 00:11:03,121
And it was so successful,
you know, it was a hit factory.
150
00:11:03,204 --> 00:11:07,876
(♫ "SISTER GOLDEN HAIR" BY AMERICA)
151
00:11:33,693 --> 00:11:36,529
There's a momentum shift
which happens with successful studios.
152
00:11:36,696 --> 00:11:38,698
But I think my dad
wanted to do something different
153
00:11:38,823 --> 00:11:39,824
in the recording space.
154
00:11:39,949 --> 00:11:41,576
He wanted to record
in a different location.
155
00:11:41,743 --> 00:11:43,912
Then he built AIR
and he thought, "Where next?"
156
00:11:44,037 --> 00:11:47,040
George was looking for something,
you know,
157
00:11:47,165 --> 00:11:49,209
which wasn't in the middle of London.
158
00:11:49,292 --> 00:11:52,921
Somewhere where the people
could come and record,
159
00:11:53,046 --> 00:11:56,466
and his plan was
there'd be a lack of hangers-on.
160
00:11:56,591 --> 00:11:59,427
It would just be them
and their families.
161
00:11:59,552 --> 00:12:03,306
HARRIES: Then he had an idea
that he would put a studio on a boat.
162
00:12:03,431 --> 00:12:05,808
He had a boat in line,
which we went and looked at,
163
00:12:05,934 --> 00:12:09,103
a great big, big boat, and we were
going to put a studio in the middle
164
00:12:09,229 --> 00:12:12,023
so we could go to anywhere in the world
and record people.
165
00:12:12,148 --> 00:12:16,277
Then he realized that just the diesel
generators would make a noise
166
00:12:16,402 --> 00:12:18,196
in every single recording he made.
167
00:12:18,279 --> 00:12:21,616
So then he looked at islands,
looked at Island Paradise,
168
00:12:21,783 --> 00:12:25,078
looked at that idea about
building a studio and found Montserrat.
169
00:12:25,203 --> 00:12:27,664
HARRIES: And suddenly,
he comes up to me and says,
170
00:12:27,830 --> 00:12:30,541
"Dave, we're flying out to Montserrat.
I want to show you something.
171
00:12:30,667 --> 00:12:33,753
I've just bought a house
and I've bought an estate,
172
00:12:33,878 --> 00:12:36,589
and I want you to build a studio there."
173
00:12:41,344 --> 00:12:43,554
I'd read about Montserrat
in a Canadian magazine.
174
00:12:43,680 --> 00:12:46,057
They described it,
"The Emerald Isle of the Caribbean."
175
00:12:46,182 --> 00:12:48,559
So, I went there for a few days
and fell in love with the place,
176
00:12:48,685 --> 00:12:53,064
and with the people,
because they're such gentle people.
177
00:12:53,189 --> 00:12:57,026
And I loved it so much,
I bought a place, simple as that.
178
00:12:57,151 --> 00:12:59,779
KNOPFLER: Montserrat, for George,
was something more
179
00:12:59,904 --> 00:13:02,573
than just a commercial operation.
180
00:13:02,699 --> 00:13:05,076
He'd fallen in love with Montserrat.
181
00:13:06,202 --> 00:13:08,413
And he had something else in his mind,
182
00:13:08,538 --> 00:13:14,210
just to be able to tie in creativity
with being in a special place.
183
00:13:14,919 --> 00:13:18,715
COOPER: George's idea was
to take people out of an environment,
184
00:13:18,881 --> 00:13:21,301
to put them into harmony with nature,
185
00:13:21,426 --> 00:13:26,306
but also have time together
to talk, to have dialogue.
186
00:13:26,389 --> 00:13:27,974
And what he knew would happen
187
00:13:28,099 --> 00:13:30,977
was that for a lot of bands
who had never been in that situation,
188
00:13:31,102 --> 00:13:37,442
that would evoke new ways of thinking,
and therefore, new musical ideas.
189
00:13:37,567 --> 00:13:39,652
If you look at Montserrat on a map
or had visited it
190
00:13:39,819 --> 00:13:42,113
at that stage in 1976, '77,
191
00:13:42,238 --> 00:13:44,365
you'd never think,
"Let's build a recording studios here."
192
00:13:44,490 --> 00:13:47,327
In the same way you start
building the studios, you don't think,
193
00:13:47,452 --> 00:13:50,621
"Let's get Rupert Neve to build
a custom desk and put it in this space.”
194
00:13:50,747 --> 00:13:54,208
HARRIES: The heart of any studio
is the mixing console.
195
00:13:54,334 --> 00:13:58,504
Geoff Emerick was quite involved
in what was gonna go on in Montserrat.
196
00:13:58,629 --> 00:14:05,053
So Geoff didn't want to use
a current type of Neve console.
197
00:14:05,178 --> 00:14:07,388
So Rupert redesigned the desk.
198
00:14:07,513 --> 00:14:12,268
He said, "It will wipe everything else
off the planet, this desk."
199
00:14:12,352 --> 00:14:14,062
AIR Studios, part of AIR's fame
200
00:14:14,187 --> 00:14:20,109
was that it had these three
incredible-sounding Neve consoles.
201
00:14:20,234 --> 00:14:22,070
And they had one at AIR Montserrat.
202
00:14:22,195 --> 00:14:26,074
Neve desks, to me, it sounded musical.
203
00:14:26,199 --> 00:14:28,159
You could actually tune into something,
204
00:14:28,284 --> 00:14:30,119
you could bring out
the character of something.
205
00:14:30,244 --> 00:14:33,456
(UPBEAT MUSIC)
206
00:14:36,125 --> 00:14:39,379
GILES MARTIN: Putting a recording desk
in a studios
207
00:14:39,462 --> 00:14:41,172
in a big city has its own problems.
208
00:14:41,297 --> 00:14:44,467
Putting a recording studio
on Montserrat,
209
00:14:44,592 --> 00:14:48,012
which really had no transport links
at all at that stage,
210
00:14:48,137 --> 00:14:50,390
was the ultimate challenge.
211
00:14:50,473 --> 00:14:55,311
And it was very brave of them, too,
because if something went really wrong,
212
00:14:55,395 --> 00:14:59,273
your closest port of call was Miami.
213
00:14:59,399 --> 00:15:02,819
You can imagine this huge two-ton box,
214
00:15:03,986 --> 00:15:06,906
with the most extraordinary piece
of equipment inside of it,
215
00:15:07,031 --> 00:15:09,534
with about 30 builders all round it,
216
00:15:09,659 --> 00:15:13,371
and they rolled it off the back
of the truck onto the oil drums.
217
00:15:13,454 --> 00:15:16,124
(UPBEAT MUSIC)
218
00:15:37,395 --> 00:15:39,439
PRESENTER: He's recognized
as the greatest record producer
219
00:15:39,564 --> 00:15:41,607
the industry has seen. George Martin.
220
00:15:41,732 --> 00:15:43,276
(APPLAUSE)
221
00:15:43,401 --> 00:15:46,737
What are you up to right now?
You have an interest in a studio abroad.
222
00:15:46,863 --> 00:15:49,532
Recently, I built a studio
out in the Caribbean.
223
00:15:49,657 --> 00:15:52,326
This reminds me of it, by the way.
(LAUGHS)
224
00:15:52,452 --> 00:15:54,245
So I spend quite a lot of time
out there.
225
00:15:54,370 --> 00:15:56,706
And that was Montserrat
in the West Indies.
226
00:15:56,831 --> 00:15:58,458
I hope I get a lot of people there.
227
00:15:58,583 --> 00:16:01,461
(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
3 When the volcano blows
246
00:17:09,153 --> 00:17:10,196
3 One more now
247
00:17:10,321 --> 00:17:11,656
♫ I don't know
248
00:17:11,781 --> 00:17:12,865
♫ He don't know
249
00:17:13,032 --> 00:17:14,367
♫ I don't know
250
00:17:14,492 --> 00:17:15,660
♫ He don't know
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
3 When the volcano blows
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 Tidal waves out on the sea
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 Dance
294
00:19:35,049 --> 00:19:37,176
♫ Boogie wonderland
295
00:19:38,010 --> 00:19:39,637
3 Ha, ha!
296
00:19:39,720 --> 00:19:40,721
I Dance
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
♪ On a carpet ride to a foreign land
427
00:27:35,112 --> 00:27:37,990
♪ At the time of Davy Crockett
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
♪ Ballroom dancing made a man of me
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
♪ Side by side on my piano keyboard
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
3 You know,
this is my first time coming out
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
♪ One of the nicest people I've ever met
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
3 I never will forget
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
3 Montserrat
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
3 Roxanne
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
3 As I walk into a room
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'm the sort of thing they ban
539
00:34:20,517 --> 00:34:21,726
♪ I'm a walking disaster
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
♪ Even though my life before was tragic
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
♪ Even though my life before was tragic
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
3 Yo-oh
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
♪ Hey, kids, shake it loose together
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
3 And I guess that's why
they call it the blues
688
00:43:15,051 --> 00:43:17,386
♪ Time on my hands
689
00:43:17,512 --> 00:43:21,015
♪ Could be time spent with you
690
00:43:21,099 --> 00:43:23,768
♪ Laughing like children
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 Under the covers
694
00:43:34,195 --> 00:43:37,740
3 And I guess that's why
they call it the blues
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'm still standing
757
00:47:01,527 --> 00:47:02,945
♫ Better than I ever did
758
00:47:04,488 --> 00:47:06,407
♪ Looking like a true survivor
759
00:47:07,033 --> 00:47:09,201
♫ Feeling like a little kid
760
00:47:10,328 --> 00:47:14,999
♪ I'm still standing after all this time
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
3 I'm still standing...
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
3 I'm not one of those
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
3 Her name is Rio
and she dances on the sand
811
00:50:02,124 --> 00:50:04,001
3 Just like that river
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
3 Treasure in the dark
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
♪ Every bond you break
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 dream at night
I can only see your face
1012
01:02:11,353 --> 01:02:15,398
♪ I look around
but it's you I can't replace
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 keep cryin', "Baby, baby, please”
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
♪ Every smile you fake
1035
01:03:37,230 --> 01:03:39,065
♫ I'll be watching you
1036
01:03:39,190 --> 01:03:40,942
♪ Every single day
1037
01:03:41,067 --> 01:03:43,403
♪ Every word you say...
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
3 That ain't workin'
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
3 You play the guitar on your MTV...
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
♪ Yeah, we are the sultans of swing
1069
01:06:00,748 --> 01:06:02,500
♪ That's right...
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
3 You're so far away from me
1104
01:08:17,010 --> 01:08:20,096
3 You're so far, I just can't see
1105
01:08:20,930 --> 01:08:23,641
3 You're so far away from me
1106
01:08:25,310 --> 01:08:28,688
3 You're so far away from me
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
3 Do the walk of life
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
3 Our heartbeats
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
♪ And you're not the only one
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
♪ Button your lip, baby
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
3 Down in the tunnel
trying to make it pay
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
3 Oh, yeah, the boy can play
1428
01:30:03,940 --> 01:30:06,151
3 Dedication, devotion
1429
01:30:06,276 --> 01:30:08,737
♪ And turning all the night time
into the day
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
3 He do the walk, do the walk of life
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
♪ He got the action, he got the motion
1440
01:30:45,774 --> 01:30:48,109
3 Oh, yeah, the boy can play
1441
01:30:48,234 --> 01:30:50,737
3 Dedication, devotion
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
♪ The song about the sweet-lovin' woman
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
3 Oh, yeah, the boy can play
1454
01:31:43,790 --> 01:31:46,209
3 Dedication, devotion
1455
01:31:46,334 --> 01:31:48,795
♪ And turning all the night time
into the day
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
3 There's just a song in all
the trouble and the strife
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