‘No one knew what was coming next’

As I reflect on the momentous occasion that was Band Aid, I can’t help but feel a sense of awe and reverence. Having been present at Phonogram Records during those turbulent yet exhilarating times, I can attest to the electric atmosphere that pervaded the hallowed halls. The sheer magnitude of what Bob and Midge set out to achieve was daunting, yet they navigated the labyrinthine world of big bands and bigger egos with aplomb, much like a seasoned Navy Seal leading a covert operation.

Add The Making of Do They Know It’s Christmas? to your watchlist

During the initial Band Aid recording in 1984, I was one of the hosts for the BBC rock show “Whistle Test.” When the producer instructed me to attend a Notting Hill recording studio on Sunday morning because “it seems Bob Geldof is producing some sort of charity record,” it was delivered with an expression we now refer to as a skeptical look. At that time, the reputation of Boomtown Rats singer Bob Geldof wasn’t particularly impressive.

Forty years after, Geldof acknowledges that his second career may not have begun if his first hadn’t failed so dramatically. Their 1984 album didn’t make it onto the charts. After a dismal October day filled with unsuccessful attempts to get people interested in their new single and feeling like the best part of his life was behind him, he returned home early to his girlfriend Paula Yates and their child, feeling down.

He clarifies that he watched Michael Buerk’s report about the Ethiopian famine during the 6 o’clock news. While other musicians like Le Bon, Boy George, Bono, and others were busy performing as rockstars, he was at home on his sofa instead.

Inspired by what he witnessed, he thought up a plan for a charity single, using his family’s address book to reach out to popular musicians. “Though they had ignored our group, I knew many of these individuals through Paula and the music show she hosted, ‘The Tube.’ I have Polaroids of people like Simon Le Bon at my house, passed out on the living room floor because they were simply exhausted.

The classic tune “Do They Know It’s Christmas?” was created by combining a previously made composition by Midge Ure with a piece of a song that Geldof had unsuccessfully pitched to the band, Rats. Midge shared the melody with him and said, “Dude, it’s eerily reminiscent of Z Cars.” To which Midge responded, “Better than anything you could have written.” Despite his reservations, Midge acknowledges that there might also be a hint of the movie theme song for The Dam Busters in it.

The recording turned out useful. A recent BBC documentary reveals the story behind its creation, compiled from footage shot on the day and stored in a vault since then. It opens with Geldof and Ure acting like anxious hosts, unsure of who might arrive first. “Midge asked me, ‘Who’s coming?’ I replied, ‘Oh, everyone,’ but I was still uncertain. I didn’t think Spandau would return from Japan. Why would they?” (paraphrased)

‘No one knew what was coming next’

When I got there that day, Sting, Paul Weller, and Spandau Ballet had already arrived. As early as mid-morning, people kept pouring in at such a rate that we stopped keeping track. In the evening, Boy George made quite an entrance, having just flown in from New York on Concorde. Those were the days.

Four years prior, many individuals in that room wouldn’t have afforded a taxi fare; now they stood before the cameras, enjoying their moment, contributing, feeling exhilarated, somewhat unsure of their location. Geldof is uncertain about the identity of the perplexed band member who recorded an apology to “all our Ethiopian fans” for not being able to tour there, making him the day’s nameless hero.

The pop historian in Geldof is captivated by the film, likening it to the Maysles brothers’ famous footage of the Beatles arriving in New York in 1964. “There’s no filter. What I love about it is the contrast with We Are the World [the US equivalent recorded the following year]. There you have these giants, people like Ray Charles, Tina Turner and Willie Nelson, but back in the UK there are these spotty kids just out of school. They’re charming, guileless, innocent almost. They’re rivals for sure, but they’re laughing and carrying on. Then you have a previous generation, like me and Weller and Midge trying to keep it together. Everyone crowds into the studio control room, which is the very opposite of Quincy Jones, let me assure you. It’s wonderful, it’s moving and no one in that room, me included, had a clue what was coming next.”

Midge sent me the tune and I said, ‘Dude, that’s Z Cars’

During that particular day, some details seemed to have eluded Geldof or gone unnoticed by him at the time. Notably, Paul Weller, who was in his Style Council phase, appeared with a walking stick. Initially, I assumed we hadn’t gotten along, but upon rewatching the footage, it appears he was sitting behind Midge, contributing to the conversation.

He’s forgotten that he phoned Frankie Goes to Hollywood, who were overseas, to beg even the tiniest contribution from the year’s hot property. The sequence where he’s heard introducing a visibly nervous Bono (“He wasn’t sure U2 should be there at all, and he was iffy about Le Bon’s bouffant”) to a clearly shy George Michael (who says, “I get nervous around pop stars,” before transforming his vocal line with an artful tweak) has a touch of Stella Street. “It’s mad in retrospect. Two years later these people were the determinants of pop music all over the world.”

In Sarm Studios, the world outside appears strikingly reminiscent of 1984. Holland Park looks rundown, reporters use notebooks, people smoke, rotary dial phones are used for calls, and no one questions why the chorus consists of just four women. “It needs to be understood in its specific era,” he explains. “You can’t have Band Aid without Loadsamoney [a character from Harry Enfield’s 80s comedy].” The soloists wait their turn to record, each standing before the others. These recordings are done “dry”, meaning no one else hears the track they’re singing along to. In such a setting, even Pavarotti would sound unsteady.

The atmosphere was reminiscent of a classroom setting. One person asked, “Who takes the first turn?” Another replied with a brusque response, “Not me, back off.” Midge acted as a benevolent figure while I sat there, drumming my fingers in anticipation. Ultimately, Paul Young stepped forward and graciously offered to perform the initial line.

Bob was observed making sure they remembered the theme of their song. “Bono pulled me aside to check if I was certain about him singing this line, ‘Tonight, thank God it’s them instead of you.’ I confirmed that it wasn’t mere liberal sentiment; it was hidden frustration, similar to Michael Buerk’s report. And since he possesses a voice that seems divine and can grasp the essence of a song better than most, he delivered it brilliantly.

Over time, Bono’s bold rendition of that witty remark garnered a loyal fanbase. When a new group of pop stars reunited to record the song on its 20th anniversary, both Robbie Williams and Justin Hawkins attempted to claim the line as their own. However, they were still in disagreement when Bono unexpectedly appeared, asking, “Are we using my line now?” He reprised his performance in 2014 during our collaboration for the Ebola crisis.

The film fails to portray the intense negotiations behind the scenes during the week leading up to the release of the movie, a time when Bob Geldof honed his ability to take charge. “I negotiated with the Daily Mirror by speaking directly with Robert Maxwell. He called me at 3am, threatening to charge for the Band Aid line-up poster. I told him he wouldn’t be able to. When Top of the Pops refused to play our record because it hadn’t yet charted, I went to Michael Grade, controller of BBC1. He suggested I wait five minutes before Top of the Pops, and asked if I could find someone to introduce it. I said I was capable of doing so, but he suggested someone else instead, Bob.” Eventually, David Bowie agreed to introduce it. I requested that he wear my Feed the World T-shirt, which was designed by Katharine Hamnett. Naturally, it didn’t look good on me, but looked fantastic on him.

In my struggle to obtain approval from the Musicians’ Union for all these individuals being present, I found myself at a dead end. I had reached my limit of patience. The only viable solution to get it on Radio 1 was to depart from the Musicians’ Union and establish our own, namely the Pop Music Union (PMU). If we initiated the PMU, severed ties with the MU, and informed the BBC that they could not play any records of these artists without the PMU’s approval, it would have resulted in Radio 1 going off air. I realized the immense power that was present within that gathering. Eventually, the union agreed, and the Geldof Model (Geldof MO) was born.

Wrapping things up, I bring to his attention that it’s been 40 years since I inquired about his future with philanthropy – he replied affirmatively then. He chuckles. His day typically starts, as usual, with ten emails concerning Band Aid Trust business. “However, if you asked me the same question today, my response would remain consistent.

‘It was extraordinary’

Did you think Band Aid would be successful?

At first, I must admit I harbored some doubts due to Bob Geldof’s four-year absence from the music scene and the common perception that he was past his prime, as often referred to in Smash Hits. However, he possessed a charismatic charm, was an exceptional negotiator, and served as a liaison between the veteran artists such as Status Quo and Genesis, and the emerging talents like Spandau Ballet and Duran Duran, who he had connections with through his girlfriend Paula Yates.

How did the artists behave on the day?

In the past, pop stars often engaged in friendly rivalries and occasionally criticized each other through media outlets. Paul Weller would express his humility by stating, “I’m not everyone’s favorite person.” Initially, people preferred to engage in their own activities rather than interact with one another – John Taylor was enjoying a bowl of chilli con carne while Bananarama were watching television. The conversation starter was Culture Club drummer Jon Moss, who spotted Phil Collins from afar, exclaimed “My hero!”, and enthusiastically rushed over to embrace him.

Who was the biggest star in the room?

As a devoted cinephile, let me recount an unforgettable instance: Yours truly, finding myself stranded in New York City, when lo and behold, I received a call from Bob. In a flash, I was jetting across the Atlantic on the iconic Concorde. My fiery hair, a striking sight, eventually graced the city. At that moment, I was the most recognized face, the one even moms across the land could identify. Had I not graced the event with my presence, the impact of the record would have been significantly diminished.

What happened when they began to sing?

Initially, they sang the chorus part together, followed by each singer taking their individual turns to sing their respective lines one after the other. This process was undoubtedly challenging, as they had to condense their unique vocal essence within just a few seconds. Remarkably, every singer pulled it off flawlessly.

Forty years later, how do you feel about Band Aid?

As a movie reviewer looking back, I can’t help but feel a sense of nostalgia for an extraordinary event: Band Aid. In the 80s, this charity single project brought together some of the biggest names in music, a spectacle that left me in awe. It was heartening to see such a collective effort, originating from Britain, with the rest of the world soon following suit.

‘It was like a Navy Seals operation’

How did you come to work on Band Aid?

Bob was one of my clients. He came into Phonogram Records and tried to take over my desk. He’d seen a news item on TV and it had reduced him to tears. He said he had something important to do and didn’t have a moment to waste.

What was your role?

In my role, I was tasked with managing multiple prominent bands and their sizable personalities, which was akin to planning a Navy SEALs mission in terms of media presentation. During that era, all communication was through landlines, and every press release was sent via fax. Any errors required manual rewriting from scratch, making the workload quite substantial!

What is your strongest memory of recording day?

Initially, I was accustomed to them joking and horsing around, but there was an unusual solemnity as they entered the studio – a peculiar atmosphere given their youthful, mischievous, arrogant demeanor. It seemed like a significant event was unfolding, and those who arrived in limousines appeared rather sheepish. I believe they soon understood it wasn’t just another entertainment gig; it felt like a piece of something larger.

When did you first realise what a phenomenon it would become?

On the very day that the hit single dropped, I strolled along Oxford Street, and it seemed as if the tune was echoing from nearly every store I walked past. Subsequently, it soared to the top of the charts, almost flying there with its popularity.

Forty years later, how do you feel about Band Aid?

The song’s lyrics, particularly Bono’s part, perfectly captured Bob and Midge’s feelings of anger and resolve, urging us all to stop being complacent and take action. Regrettably, this sentiment still resonates strongly today as the world hasn’t progressed as much as we’d hoped for, causing cynicism among many. Some people find Bob controversial, but he ignited a worldwide movement and amassed millions for his cause. Even now, just thinking about it gives me goosebumps.

2024-11-19 16:09

‘It was extraordinary’

‘It was like a Navy Seals operation’

Read More