A sign outside Studio A bore a single admonition:  "Please check your egos at the door."  Bold instructions, perhaps, since polished limousines were already nosing down La Brea Avenue toward these L.A. recording studios bearing 45 of the most luminous stars  and well-developed egos  in rock, pop, and country music.  Some, like Cyndi Lauper and Lionel Richie, were coming straight from the American Music Awards, an annual TV confection designed to pass out trophies and pull in Nielsens.  Here at A&M's studios, however, something far more substantial was about to take place.  Before this glorious hard day's night would end, the ego check-in counter would be the busiest spot in town. 

Singers whose life-styles sometimes seem to celebrate excess ere coming here to alleviate want.  Their project: recording a song that could be used to raise funds for African famine relief.  Their work would put a Yankee twist to a similar Band Aid project by British rockers that has raised nearly $9 million since December.  But it would also make for one of the most moving nights in music history. 

The progenitor of the project was singer Harry Belafonte who, impressed by the British famine effort and stunned by news accounts of the Ethiopian tragedy, had first conceived the American initiative last December.

Several days before Christmas, Belafonte called pal Ken Kragen, a high-octane manager, with fund-raising ideas.  Belafonte initially suggested staging a megastar-studded concert.  Too difficult to pull off, said Kragen, recalling the money woes of the 1971 performance for Bangladesh.  "Why not a record?" asked Kragen, whose interest in world hunger had first been aroused by the late Harry Chapin, an earlier singer client.  "After all, the Band Aid people didn't copyright the idea."  Kragen then contacted Kenny Rogers and Lionel Richie, both of whom he also manages.  Having taken over Chapin's antihunger crusade in 1981 when the latter died, Rogers readily agreed to participate.  So did Richie, who had spent the past several days talking about just such a project with his wife, Brenda. 

Kragen next tried to phone Stevie Wonder, but without success.  Then, shortly before Christmas, Brenda Richie was shopping in Beverly Hills when Wonder walked in to buy some jewelry.  She helped him select several items and asked him to return the favor by telephoning her husband about a special project.  He did  and was quickly enlisted.

Lionel, meanwhile, was busy contacting Michael Jackson, whom he had been seeing socially for several weeks.  Michael, too, agreed to join  provided he could help write the song that would be recorded.  No problem, said Lionel happily.  Needing a producer for the record, Kragen rang up Quincy Jones, who dropped his work on a new album to donate his services to the project.

At the Jackson home in Encino, Michael and Lionel set to work writing the anthemlike song We Are The World.  Progress came in bits and pieces.  "I'd go into the room while they were writing", remembers Michael's sister LaToya, "and it would be very quiet, which is odd, since Michael's usually cheery when he works.  It was very emotional for them.  Some nights they'd just talk until 2 in the morning."

In the days between Christmas and New Year's, Kragen expanded his search for stars.  "Basically, I started at the top of the record chars and began making phone calls", he says. 
Steve Perry, lead singer and creative heart of Journey, came home to a message on his telephone answering machine.  "Sign me up", he said.  
Then Bruce Springsteen, on tour, was called, "Do they really want me?" asked the Boss modestly.  Assured that he was indeed wanted, Springsteen also came about.  "That was something of a turning point," conceded Kragen.  "It gave the project a great deal more stature in the eyes of others."

Kragen's final lineup  al of whom performed for free  reads like a Who's Who of gold record collectors.  Among them:  Tina Turner, Bette Midler, Willie Nelson, Billy J oel, Huey Lewis and Waylon Jennings.  Jeffrey Osborne was approached by Richie just hours before the taping, while both were rehearsing for the American Music Awards.  "Keep it silent", cautioned Lionel.  Kragen, who had first envisioned only 10 or 15 performance, eventually had trouble stopping the project's momentum.  "In the last week we went from 28 to more than 40 artists," he says.  "I had to turn down something like 50 or 60 performers who wanted to participate."

Many of those who came did so with difficulty.  Springsteen, because of his notoriously long concerts, never travels and seldom arises before 5 p.m. the day after a show.  Yet the next afternoon, after finishing his American tour in Syracuse, N.Y., he boarded a plan and flew to L.A.  Daryl Hall and John Oats were also in the East rehearsing for a tour that would start a week and a half after the taping.  Stevie Wonder managed to get out of Philadelphia despite terrible weather.  James Ingram flew in from London, and Paul Simon showed up despite having spent the entire previous night at work in a recording studio. 

On the last Monday in January, as the American Music Awards were ending at the Shrine Auditorium across town, all was in readiness at A&M.  Studio C had been set aside as a makeup room, Studio B stocked with fruit, cheese and juices for incoming singers.  The buildings large Charlie Chaplin soundstage creaked under a $15,000 spread of roast beef, tortellini, imported cheese and other goodies for the performer's guests  all provided gratis by Someone's in The Kitchen catering.  The onlookers and guests (each performer was allowed five) included Ali MacGraw, Jane Fonda, Dick Clark, and many family members, and all watched the night's proceedings through TV monitors and the lenses of five video cameras. 

At 9 p.m. people began arriving in streams.  "During the first hour it was impossible to get anything done," says Osborne.  "Everyone was congratulating each other, meeting people they hadn't met before."  "Saying 'hi', exchanging lies," echoes Ray Charles.  "It was just like Thanksgiving, all of us together."  Ruth Pointer of the Pointer Sisters came with a camera and quickly shot some snaps of Michael Jackson ("I have two kids, and they would've killed me if I hadn't").  Then sister June Pointer entered the studio with Bruce Springsteen, and the pair plopped down together on the only chair then available.

Bob Dylan showed typical reserve at first, sitting off by himself.  But even the legendary loner couldn't withstand the warmth.  Hours later he could be found in a corner, rehearsing his solo lines as Stevie Wonder accompanied him on the piano, singing in Dylan's own nasal style.  Fleetwood Mac's Lindsey Buckingham found himself chatting with Harry Belafonte.  When Buckingham mentioned how much he loved Belafonte's Calypso classic, The Banana Boat Song, every nearby suddenly broke into a spontaneous chorus of day-o's.  Ray Charles asked for a drink of water, and another singer volunteered to lead him to the fountain.  Stevie Wonder.  And so it went.  "For me, the first couple of hours were really charged," says Kenny Loggins. "I've never before felt such a strong sense of community."

Around 10:00 p.m. the sheet music was passed out, and several people stepped forth to address the group.  Kragen talked of plans for the funds they hoped to raise.  Mindful of the decade-long Bangladesh situation, I assured the artists that if it came down to seeing that the money got to the right places, I would go over with the supplies personally."  Then Bo Geldof, leader of the Boomtown Rats and organizer of the British Band Aid sing-along, offered a moving speech about his own travels in Ethiopia, telling of a "good day" in one village he had visited when only five people had died.  "Geldof's opening speech was pretty intense," noted Loggins later.  "You could hear the truth in his voice". 

After Michael Jackson shyly described the piece he and Richie had written  "a love song to inspire concern about a faraway place close to home"  the taping began.  Quincy Jones sat on a stool directing his multi-million dollar chorus, Richie on a chair next to him, Michael with the others but off to one side.  At one point during the long hours that followed, emotions swept up the 400 guests, who joined the singing from their soundproof stage.  During a break, Brenda Richie took orders for Fat Burgers (from Springsteen, Dionne Warwick and others) and sent a chauffeur off to a nearby hamburger stand.

By 3:00 a.m. the choral section of the song was recorded, and only the solo sections remained.  "Everybody was drained, but also hanging on to the thread of magic in the night," says Ingram.  "You could see the fatigue on people's faces," remembers Osborne.  The group took another break and, prompted by Diana Ross, began autographing each other's sheet music.  Suddenly Wonder came into the room with two African women, representatives of the very people the performers were trying to help.  The women, nervous and exhausted, spoke through trembling lips in their native Swahili, thanking the group for all they were doing.  Says Ingram, "Everybody was humbled."

Then Jones positioned the 21 soloists in a semicircle around him.  Starting with Richie, they all sang their parts, and the singing moved round and round the semicircle until it was completed. Loggins was stationed between Springsteen and Steve Perry during the solos; Springsteen sang his part in a huge booming voice.  "I wanted to do my very best," Loggins says, "and with Springsteen belting his line like a loud Joe Cocker, I wondered how I should do mine."  Just be yourself, Perry advised.  "I think that pretty much sums up how everybody was acting," says Loggins.

By dawn most of the performers had finished.  Dylan and Springsteen, obviously drained by the marathon remained until around 7:30.  His only solo work long since completed, Perry also stuck around to witness the ending. Osborne, after trading a few ad lib vocal licks with Wonder, Richie and others, finally walked out the studio door with Michael Jackson sometime before 8.  Off to one side an exhausted Diana Ross sat on the floor, tears filling her eyes.  "I just don't want this to end," she said.

But end it did, for the moment.  Kragen, predicting profits of $150 million from the undertaking, quickly went to work pulling together the fund-raising album that would follow and arranging the single's release in mid-March.  Linda Ronstadt, who had missed the taping because of flu, agreed early on to supply one of the LP's solo tracks.  Prince, recipient of three of the American Music Awards earlier in the night, had passed up the group sing and instead went to a West Hollywood nightspot; later that night his bodyguards were involved in a scuffle with photographers and were arrested by police.  Fnally, at 6 a.m., the diminutive rocker phoned Jones, offer to lay down a guitar track for the group's single.  Jones declined that contribution but agreed to accept a solo cut for the LP instead.  Another track would be taped two weeks later in Toronto, where a group of Canadian artists  including Bryan Adams, Joni Mitchell, and Neil Young  gathered to create their own Band Aid-style recording for famine relief. 

For the Americans who did take part in the all-night recording session, the rewards were greater than any royalties they might have sacrificed.  They had come hoping to help a cause, and in the process discovered their own community.  Afterward, most of the musicians quickly resumed the projects they had so suddenly interrupted.  Tina Turner flew to new York the next day to start rehearsing for her Saturday Night Live performance later that week.  Hall and Oates returned East to prepare for their own four-moth road trip and Dianne Warwick jetted to Las Vegas where she performed that night at the Golden Nugget.  For some, the sense of purpose felt at the all-night session wouldn't fade with the dawn.  Harry Belafonte, self-effacing initiator of the project, boarded a plane the following day for Washington, D.C.  There, one day later, he was arrested while picketing outside the South African embassy. 
Rock's Finest Hour

"Charity finds a singing voice at a historic recording session"

People Magazine  Cover Story
February 25, 1985


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