week. Spector later talked of them spending "six months" mixing what amounted to a total of four hours of music; in fact, the process took just over a month, as Harrison told talk-show host Dick Cavett that November. In their book Eight Arms to Hold You, Chip Madinger and Mark Easter question the extent of Spector's involvement, citing Harrison's subsequent lauding of Kellgren's role in "capturing the performances" on 1 August, as well as the fact that Spector was "in and out of hospital" during this time, similar to his erratic attendance at the All Things Must Pass sessions in 1970. Concert recordings Speaking in 2011, Spector identified two issues that prolonged the live album's preparation, both of them reflective of the haste with which the concerts came together: "It was chaos [setting up at Madison Square Garden] – we had three hours to mic the band, then the audience came in, and we didn't know how to mic the audience." Rather than a standard band, this was a full Wall of Sound orchestra, as Spector re-created his Wall of Sound approach in concert. The large ensemble consisted of two drummers (Ringo Starr and Jim Keltner), two keyboard players (Billy Preston and Leon Russell), six horn players (led by Jim Horn), three electric guitarists (Harrison, Eric Clapton and Jesse Ed Davis), a trio of acoustic guitars to be "felt but not heard" (Badfinger's Pete Ham, Tom Evans and Joey Molland), the seven members of Don Nix's "Soul Choir", together with bassist Klaus Voormann and a dedicated percussion player, Mike Gibbins of Badfinger. In his review of the Concert for Bangladesh film, John Pidgeon described the scene as "a roadie's nightmare of instruments, mikes, amps and speakers". Before the Western portion of the concerts, there were the traditionally hard-to-record Indian string instruments of Ravi Shankar and Ali Akbar Khan to amplify, together with Alla Rakha's tabla and the drone-enhancing tambura, played by Kamala Chakravarty – each offering natural musical tones so easily lost in the "cavernous Garden". An additional challenge for Kellgren had been the need to capture the dynamics of a well-paced show designed around professionally presented hit songs, rather than a loose superstar jam. Post-production With ongoing friendships a priority, Harrison had promised the main participants that, should things turn out badly on 1 August, they could be excluded from any album or film release. According to Madinger and