Bangladesh – 25 cents on every copy sold. Although none of these royalties went to the artist, Dylan and his record company were already benefiting from the exposure provided by the Bangladesh concerts, through the timely release of Bob Dylan's Greatest Hits Vol. II. Of the other featured artists at the Concert for Bangladesh, the careers of both Preston (A&M Records) and Russell (Shelter) likewise prospered as a result of their participation, but their record companies imposed no such conditions on Apple and Capitol. In January 1972, Melody Makers Richard Williams remarked in his Concert for Bangladesh album review: "Between them, Capitol and CBS have proved that, when it comes to awareness and enlightenment, the business is still several years behind the musicians." Once the album had been granted a release date, Apple's financial terms ensured that as much money as possible would be raised from each copy sold, but that it would be difficult for retailers to profit financially. Some retailers responded with "shameless price gouging" on the three-record set, apparently at Capitol's recommendation. Following the protracted negotiations surrounding the live album's distribution, Harrison's disaffection with EMI/Capitol was a key factor behind his signing with A&M Records in January 1976. Artwork The album's packaging was designed by Camouflage Productions partners Tom Wilkes and Barry Feinstein, the same team responsible for All Things Must Pass, rock music's first boxed triple album. Along with Alan Pariser, both Wilkes and Feinstein had taken stills photographs at Madison Square Garden, at the soundcheck on 31 July and during the concerts the next day, the results filling the 64-page full-colour booklet accompanying the original album. Also used as the Concert for Bangladesh film poster, the album-cover photograph – the "haunting" image of a malnourished young child sitting naked behind a wide, empty food bowl, author Bruce Spizer writes – was a still taken from news agency film footage and airbrushed extensively by Wilkes. Having created the provocative, headline-filled picture sleeve for Harrison's "Bangla Desh" single earlier in the year, Wilkes was keen to capture "real human compassion" in this cover and poster image. The booklet's back-cover picture showed an open guitar case filled with food and medical supplies, below a copy of the cheque for the Madison Square Garden box-office takings. Wilkes intended this image to convey a sense of hope, signifying the completion of the task that the participants had set out to