GIVE PEACE A CHANCE
Billed as a musical effort to "Give Peace A Chance", the concert held at the Paddington Town Hall, Sydney, served also as a technical exercise and a fund-raising evening for the Rhythm in Bliss band. From the various backgrounds of Hair, the La-de-Das and the Sydney Conservatorium, these musicians came together to serve Guru Maharaj Ji through their particular talent. The Paddo Concert, which they organised themselves, gave the public a wide range of entertainment. W. C. Fields' movie, "The Fatal Glass of Beer", opened up the program followed by a bracket from the band. The rest of the evening included "I Must Have That Man", a surprise movie treat from Satsang Cinema, a divine play and an unusual rendering of classical music. The crowd of 500 also made frequent use of the health food bar operating in the foyer.
Before Rhythm in Bliss began their long journey to Melbourne after the program, The Golden Age interviewed them on music, meditation and management.
You recently did a big tour with Bal Bhagwan Ji. Did you learn anything from that?
Lindsay: We learnt about ourselves, mainly about our own limitations and how to get beyond them. We've got a lot more direction. Bal Bhagwan Ji said the music should go out towards people more instead of being purely devotional. He was directing us to go into a recording studio and make an L.P.
How do you think your music has changed since you took Knowledge?
Kim: The lyrics have changed. Instead of presenting the negative side of what's wrong, they present the alternative. We've become much more aware that when we play music it's an event between us and the people. You're singing for Guru Maharaj Ji instead of you
Trevor: I think since Knowledge the music has become simpler because of the desire to make a perfect sound. To get it perfect you've got to make it simple. The more people who join, the simpler each indiviual has to play.
What do you think is the aim of music in general?
Alan: Really pure communication. Knowledge clears up a lot of mysteries. For me music was always communication between the players and with the audience. When I was searching for Truth I used to be playing and you'd be going somewhere musically you'd never been before and everyone was going together. It's the point of acute concentration where you're detached from your body and your body is an instrument just like the instrument you're playing. I used to wonder, who's pulling the strings? Who's leading everyone the same way? With Knowledge you can understand where it comes from.
Trevor: At this time there are two aims for us. One is to play music for people to bring them to Knowledge; to make them aware that things are bad and that things can become good through Guru Maharaj Ji's Knowledge. And the other aim is to play to Guru Maharaj Ji and both aims are really one and the same thing. There'll be more a merging on the external level as more people take Knowledge.
Do you see any resemblance between music and meditation?
Tony: When you're making music you've got to meditate. If you're not remembering the Word you're just scattered. Music is also satsang. Music tells people what comes out of meditation. And it's also service, such a fantastic service.
When you're playing music and meditating, is there something you can compare that experience to?
Lindsay: You really experience your body being an instrument. You step back and become an observer. Just sit there, blissed out.
Kim: Bal Bhagwan Ji said music is the wine of the soul. You can really get drunk on it, especially with devotional music. The soul is that thing inside you which is silent; if you're directing something external towards that then somewhere between the gross form and the subtle form, a transformation takes place.
Tony: The beauty of this Knowledge is you're getting a lot of different sorts of people who normally don't get together to make music as in this band. Whereas without Knowledge you get four or five people who all want one type of music and that's the only music that comes out. With the Knowledge you get so many different sounds.
Trevor: We can play Jumping Jack Flash followed by "When you walk all the flowers bend your way….". They sound like two separate bands. On the financial level, now, we're going down to Melbourne because we've got a good recording set-up there and we should be able to get work in pubs and clubs.
How much does the audience become part of your music?
Trevor: Premies become part of the music in such a way that it blows me out. The audience is in the same place as the band, the only difference is one is playing and one's listening.
Lindsay: You're much more centred playing a concert full of premies at Terrigal rather than the Cabbage Patch Hotel at Coolangatta.
Alan: If you're just being treated as background music while they chat and drink, you can float off here and there. But if everyone's really engrossed ….
Trevor: If you don't concentrate you're going to blow it. Concentration is the whole thing.
Lindsay: We're aiming towards Guru Maharaj Ji and that's all we have to do. We didn't ask, everything's just happening. All we want to do is direct ourselves towards Guru Maharaj Ji and he makes us aware of what is happening, where the actual, practical application and direction of music lies.
Trevor: Everything with Knowledge is a back door; you don't know it's open until you're half way through.