1 00:00:00,080 --> 00:00:02,240 Speaker 1: Blood on the Tracks is the production of I Heart 2 00:00:02,360 --> 00:00:06,560 Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius, 3 00:00:06,960 --> 00:00:09,320 Speaker 1: one of the most successful record producers of all time. 4 00:00:09,680 --> 00:00:12,240 Speaker 1: He's now sitting behind bars, serving a nineteen years to 5 00:00:12,280 --> 00:00:16,840 Speaker 1: life sentence for murder. This is his story told by 6 00:00:16,840 --> 00:00:28,440 Speaker 1: his so called friends. This is Special Agent Paul Ramon 7 00:00:28,520 --> 00:00:31,560 Speaker 1: with a Federal Bureau of Investigation, working case number double 8 00:00:31,600 --> 00:00:34,760 Speaker 1: oh four DASH ten death seven four one nine case 9 00:00:34,800 --> 00:00:38,560 Speaker 1: subject as Specter Philip Harvey. This information pertains to a 10 00:00:38,640 --> 00:00:44,240 Speaker 1: period ending February four. Interview subjects Harry debrah Ann Interview 11 00:00:44,360 --> 00:00:47,360 Speaker 1: number six STAPH six six STAPs five to four DEAP 12 00:00:47,520 --> 00:00:52,080 Speaker 1: two O two Recall number six data's February two thousand five. 13 00:00:59,080 --> 00:01:04,440 Speaker 1: Gons were his fascination. He showed them off, waved them around. 14 00:01:05,600 --> 00:01:07,959 Speaker 1: It's tragic the way things turned out for him, because 15 00:01:08,040 --> 00:01:11,000 Speaker 1: being such a genius and such a front runner and 16 00:01:11,080 --> 00:01:15,760 Speaker 1: an inventive producer, it seems awful what happened. I honestly 17 00:01:15,760 --> 00:01:18,160 Speaker 1: wish it didn't happen. I don't wish that sort of 18 00:01:18,200 --> 00:01:23,440 Speaker 1: thing on anything. He obviously made a terrible mistake, but 19 00:01:23,520 --> 00:01:26,800 Speaker 1: it's not terribly surprising that he could make such a mistake. 20 00:01:27,120 --> 00:01:30,920 Speaker 1: You understand what I'm talking about. I think he had 21 00:01:30,920 --> 00:01:34,920 Speaker 1: a wild side to him of reputation. I can't really 22 00:01:35,000 --> 00:01:38,000 Speaker 1: venture to guess on what he was thinking. I think 23 00:01:38,000 --> 00:01:41,440 Speaker 1: it was sort of a game to him, and sometimes 24 00:01:41,560 --> 00:01:45,640 Speaker 1: games turn out badly. The kind of game he played 25 00:01:45,720 --> 00:01:48,680 Speaker 1: was the kind of left tragedies in their wake, the 26 00:01:48,840 --> 00:02:15,919 Speaker 1: kind at leaves blood on the drugs m H. Chapter six, 27 00:02:17,120 --> 00:02:31,720 Speaker 1: Phil Specter and Debbie Harry. I'm not saying the guy 28 00:02:31,880 --> 00:02:36,080 Speaker 1: wasn't a genius, because obviously he was listened to his records. 29 00:02:36,360 --> 00:02:39,600 Speaker 1: The genius is there. It was what he perceived to 30 00:02:39,639 --> 00:02:42,040 Speaker 1: be the size and scope of his own genius that 31 00:02:42,200 --> 00:02:44,960 Speaker 1: was the problem. He thought he was the second coming 32 00:02:44,960 --> 00:02:48,919 Speaker 1: of Wagner and that everyone should step aside make way 33 00:02:49,080 --> 00:02:55,519 Speaker 1: for Wagner Jr. But more often than not, the man 34 00:02:55,680 --> 00:03:00,440 Speaker 1: was nothing more than a vindictive, petty thug. The pettiest thugs, 35 00:03:00,480 --> 00:03:06,360 Speaker 1: of course, the thug who hides behind bigger thugs, guys 36 00:03:06,400 --> 00:03:09,440 Speaker 1: like George Brand, the guys who would follow him around 37 00:03:09,480 --> 00:03:12,720 Speaker 1: and flank him at the restaurant the studio, arms crossed 38 00:03:12,760 --> 00:03:16,760 Speaker 1: against their chest, Phil and George would pull guns from 39 00:03:16,800 --> 00:03:20,040 Speaker 1: their holsters and compare them like some big dick contest. 40 00:03:20,720 --> 00:03:24,639 Speaker 1: But you know, the motivation behind some overcompensating handgun jive 41 00:03:24,880 --> 00:03:28,200 Speaker 1: is anything but big. If you know what I'm saying. 42 00:03:30,040 --> 00:03:32,160 Speaker 1: Someone told me he even brought his thugs to his 43 00:03:32,200 --> 00:03:36,480 Speaker 1: tenure high school reunion. Can you imagine everyone else shows 44 00:03:36,560 --> 00:03:40,280 Speaker 1: up with their wife for their husband a date at least, 45 00:03:40,920 --> 00:03:43,760 Speaker 1: and here comes the second Coming of Wagner, walking tandem 46 00:03:43,760 --> 00:03:47,240 Speaker 1: with some mute muscle head less of Wagner incarnate than 47 00:03:47,280 --> 00:03:50,760 Speaker 1: he was. The helicopter and Apocalypse now blaring Wagner at 48 00:03:50,800 --> 00:03:57,640 Speaker 1: full blast him. He just humiliated everyone in his path. 49 00:03:58,600 --> 00:04:03,040 Speaker 1: It was his revenge on a world that had humiliated him. 50 00:04:03,080 --> 00:04:06,520 Speaker 1: That cologne he wore, that Caesar cologne, I think it was. 51 00:04:07,160 --> 00:04:09,840 Speaker 1: He just swam in this stuff. It was like fucking 52 00:04:09,960 --> 00:04:13,520 Speaker 1: napalm to the rest of us. I was used to it. 53 00:04:14,200 --> 00:04:17,520 Speaker 1: I was used to this particular strain of Caesar drenched 54 00:04:17,600 --> 00:04:21,240 Speaker 1: male ego. My whole stage persona and Blondie was that 55 00:04:21,320 --> 00:04:23,680 Speaker 1: of a woman from a man's point of view. After all, 56 00:04:24,400 --> 00:04:27,000 Speaker 1: I lived in that world. I was surrounded by guys 57 00:04:27,040 --> 00:04:29,359 Speaker 1: in Blondie and guys in every other band in New 58 00:04:29,440 --> 00:04:32,520 Speaker 1: York City. Tina was the only exception to that rule. 59 00:04:33,440 --> 00:04:37,159 Speaker 1: I'd heard everything been asked, everything been told, everything been 60 00:04:37,200 --> 00:04:42,640 Speaker 1: sized up, belittled, propositioned, humiliated. But I'd never had a 61 00:04:42,720 --> 00:04:47,520 Speaker 1: gun pulled on me before. When you feel a forty 62 00:04:47,560 --> 00:04:51,000 Speaker 1: five pressed into the worn leather of your thigh high boot, 63 00:04:51,640 --> 00:04:54,560 Speaker 1: you know it's a forty five. Doesn't matter if you've 64 00:04:54,600 --> 00:04:58,679 Speaker 1: never felt it before, you just know. All the warning 65 00:04:58,720 --> 00:05:05,320 Speaker 1: signs were there. Our His reputation preceded him, of course, 66 00:05:05,440 --> 00:05:09,400 Speaker 1: just like his Caesar cologne. We had heard all the stories, 67 00:05:10,800 --> 00:05:14,600 Speaker 1: and then he was there in our dressing room. Blundie 68 00:05:14,600 --> 00:05:16,240 Speaker 1: had made the jump from New York to l A. 69 00:05:17,080 --> 00:05:20,120 Speaker 1: It was like cheap trick playing Buddhican. They loved us 70 00:05:20,160 --> 00:05:21,719 Speaker 1: in l A in a way that New York could 71 00:05:21,839 --> 00:05:25,039 Speaker 1: never love us. We did a week's residency at the Whiskey. 72 00:05:25,160 --> 00:05:27,920 Speaker 1: Tom Petty and the Heartbreakers opened, and then we did 73 00:05:27,920 --> 00:05:31,400 Speaker 1: a second week with the Ramones. The crowds po God 74 00:05:31,560 --> 00:05:35,600 Speaker 1: and Body slammed. The room was electric night after night. 75 00:05:40,360 --> 00:05:43,599 Speaker 1: We were upstairs in one of those cramped dressing rooms 76 00:05:43,640 --> 00:05:46,560 Speaker 1: after one of the shows with the Ramones. You think 77 00:05:46,600 --> 00:05:49,960 Speaker 1: New York dressing rooms are small. Joey was hunched over 78 00:05:50,000 --> 00:05:54,440 Speaker 1: and Phil walks in. He's in a long black cape, 79 00:05:54,480 --> 00:05:58,520 Speaker 1: black shirt, black tie, black sunglasses, beard and big hair, 80 00:05:59,720 --> 00:06:02,520 Speaker 1: a big cross hung from a chain around his neck. 81 00:06:02,839 --> 00:06:07,839 Speaker 1: He looks like Dracula's hairdresser. He has walked through centuries, 82 00:06:08,960 --> 00:06:13,240 Speaker 1: untouched by time. He's got a button on that says 83 00:06:13,240 --> 00:06:16,960 Speaker 1: in the flesh, you know, from a first record. And 84 00:06:17,080 --> 00:06:20,840 Speaker 1: he kicks everyone out but us. He kicks out Joe 85 00:06:20,960 --> 00:06:25,760 Speaker 1: and the boys. He's there to see us. We were 86 00:06:25,839 --> 00:06:28,560 Speaker 1: used to playing second fiddle to all the others in 87 00:06:28,600 --> 00:06:32,560 Speaker 1: New York, but they're on the sunset strip. Phil Specter 88 00:06:32,720 --> 00:06:37,320 Speaker 1: thinks we're the tops, So okay. He kicks everyone out. 89 00:06:37,720 --> 00:06:39,920 Speaker 1: He shuts the door, stands in front of it and 90 00:06:39,960 --> 00:06:44,719 Speaker 1: just talks about all the hit records he made. He 91 00:06:44,760 --> 00:06:47,760 Speaker 1: talks about the way things used to be, about echo Chambers, 92 00:06:47,800 --> 00:06:53,320 Speaker 1: about songwriting producer Tina, this Righteous Brothers. That he talked 93 00:06:53,360 --> 00:06:57,080 Speaker 1: about us, about Blondie. He was obviously interested in us, 94 00:06:57,440 --> 00:07:02,919 Speaker 1: interested in the sixties girl group throwbacks from our first record. Well, 95 00:07:03,200 --> 00:07:08,000 Speaker 1: he was interested in me. I'm sure of that. I've 96 00:07:08,000 --> 00:07:11,760 Speaker 1: seen that look a million times before. The thousand yards 97 00:07:11,800 --> 00:07:14,080 Speaker 1: stare of a man who thinks you're the one thing 98 00:07:14,160 --> 00:07:17,800 Speaker 1: when you're clearly not Chris or Clem or one of 99 00:07:17,800 --> 00:07:20,000 Speaker 1: the guys would catch on and say something to funk 100 00:07:20,000 --> 00:07:23,920 Speaker 1: with him, and his half fawning, half grandfatherly attitude would 101 00:07:23,920 --> 00:07:27,120 Speaker 1: snap into what the hell do you think you're talking to? 102 00:07:27,720 --> 00:07:30,440 Speaker 1: He would say, and the small room would tense up. 103 00:07:32,080 --> 00:07:35,640 Speaker 1: He had two tall, twin girls with him. They stood 104 00:07:35,680 --> 00:07:37,480 Speaker 1: watch at the door to make sure no one would 105 00:07:37,480 --> 00:07:40,720 Speaker 1: get in. Every time he lost his temper, neither one 106 00:07:40,720 --> 00:07:45,280 Speaker 1: of them would flinch. Was all very strange. We hung 107 00:07:45,320 --> 00:07:47,960 Speaker 1: around that room for a long time, wondering if we'd 108 00:07:48,000 --> 00:07:52,760 Speaker 1: ever leave. So eventually he invited us back to his mansion, 109 00:07:53,160 --> 00:07:55,240 Speaker 1: which is right up the road from the Whiskey, up 110 00:07:55,280 --> 00:07:59,120 Speaker 1: the hill from Hollywood, heading towards the valley. We figured 111 00:07:59,120 --> 00:08:01,680 Speaker 1: that in every day that a major producer invited us 112 00:08:01,680 --> 00:08:05,160 Speaker 1: to come hang at his mansion, right, so why wouldn't 113 00:08:05,160 --> 00:08:08,880 Speaker 1: we we wind up the road. He greets us at 114 00:08:08,880 --> 00:08:12,320 Speaker 1: the front door, which sounds like something he rarely did. 115 00:08:12,480 --> 00:08:15,840 Speaker 1: He liked to make people wait, create spence, tension, not 116 00:08:16,080 --> 00:08:18,960 Speaker 1: us man. He had a bottle of man of Chevets 117 00:08:19,000 --> 00:08:21,640 Speaker 1: in one hand, his cold forty five in the other. 118 00:08:23,440 --> 00:08:26,440 Speaker 1: What he was thinking it probably should have turned around 119 00:08:26,600 --> 00:08:29,760 Speaker 1: right then. I mean, if that's not an ominous sign, 120 00:08:30,160 --> 00:08:34,480 Speaker 1: the guy's whack job colors are in full flight. Inside 121 00:08:34,559 --> 00:08:36,880 Speaker 1: the place was a meat locker. The a C was 122 00:08:36,920 --> 00:08:40,559 Speaker 1: on full blast. The place was so cold, so dark. 123 00:08:40,640 --> 00:08:43,119 Speaker 1: It's at this point I'm thinking that the whole Dracula's 124 00:08:43,160 --> 00:08:47,240 Speaker 1: Hairdresser thing ain't so far off. We talked for a while. 125 00:08:47,720 --> 00:08:50,480 Speaker 1: Phil says he wants to produce us, and every time 126 00:08:50,480 --> 00:08:52,839 Speaker 1: we try to say we'll think about it and make 127 00:08:52,840 --> 00:08:57,120 Speaker 1: a move for the door, he stops us. A little 128 00:08:57,120 --> 00:09:01,040 Speaker 1: bit longer. He sat down at the piano started to 129 00:09:01,080 --> 00:09:03,760 Speaker 1: bang out be My Baby and these other unette songs. 130 00:09:04,200 --> 00:09:06,040 Speaker 1: He told me to sit down on the bench next 131 00:09:06,080 --> 00:09:08,320 Speaker 1: to him, wanted me to sing with him, and for 132 00:09:08,400 --> 00:09:11,440 Speaker 1: Chris to grab his guitar and play along. He was 133 00:09:11,520 --> 00:09:16,160 Speaker 1: orchestrating some spontaneous jam session, but there was nothing spontaneous 134 00:09:16,280 --> 00:09:22,200 Speaker 1: about it. The gun thing happened soon after we had 135 00:09:22,280 --> 00:09:25,400 Speaker 1: moved to the couch, still engaged in this uncomfortable hang, 136 00:09:25,960 --> 00:09:28,560 Speaker 1: still being held against our will in this winking kind 137 00:09:28,559 --> 00:09:32,560 Speaker 1: of elbow nudging sort of way. Phil came up from 138 00:09:32,559 --> 00:09:36,200 Speaker 1: behind and stuck that forty five between my leg and 139 00:09:36,240 --> 00:09:42,560 Speaker 1: the leather of my thigh high boot. He goes bang, bang, 140 00:09:43,280 --> 00:09:48,080 Speaker 1: and then laughs. I was like, get me the fuck 141 00:09:48,240 --> 00:10:22,760 Speaker 1: out of here. The same thing happened to the Ramones. 142 00:10:22,840 --> 00:10:25,600 Speaker 1: You know, Johnny and Deedy told me all about it. 143 00:10:25,840 --> 00:10:28,080 Speaker 1: We didn't really know how difficult it is to work 144 00:10:28,120 --> 00:10:31,920 Speaker 1: with the guy before we stepped into it. We found out. 145 00:10:32,360 --> 00:10:34,439 Speaker 1: I guess when Phil realized he wasn't going to get 146 00:10:34,440 --> 00:10:36,920 Speaker 1: to work with Blondie, he went for the next best thing. 147 00:10:37,679 --> 00:10:41,920 Speaker 1: He put his sights on the Ramones. The boys told 148 00:10:41,920 --> 00:10:45,040 Speaker 1: me all about it. They were back in l a 149 00:10:45,360 --> 00:10:49,120 Speaker 1: later in seven and Phil comes to their show just 150 00:10:49,160 --> 00:10:52,960 Speaker 1: like he came to ours. He goes backstage just like 151 00:10:53,000 --> 00:10:57,800 Speaker 1: he had done with us, tells them that he thinks 152 00:10:57,800 --> 00:11:01,720 Speaker 1: of the best band in America, tells them he wants 153 00:11:01,760 --> 00:11:04,760 Speaker 1: to produce them, and he invites the group back to 154 00:11:04,800 --> 00:11:09,839 Speaker 1: the Mansion. Now, the Ramones weren't as polite and accommodating 155 00:11:09,880 --> 00:11:13,640 Speaker 1: as we were, which is saying a lot. So at 156 00:11:13,679 --> 00:11:16,400 Speaker 1: the Mansion, It's obvious Phil thinks of the band as 157 00:11:16,480 --> 00:11:20,679 Speaker 1: Joey Ramone and his throwaway backup players, just like he 158 00:11:20,720 --> 00:11:23,120 Speaker 1: looked at Blondie as Deborah Harry and a bunch of 159 00:11:23,200 --> 00:11:26,400 Speaker 1: random guys, know what I mean. I think his concept 160 00:11:26,440 --> 00:11:32,679 Speaker 1: of a van was very myopic. They couldn't be a 161 00:11:32,679 --> 00:11:36,080 Speaker 1: collective unit. They had to have a star. They had 162 00:11:36,200 --> 00:11:41,600 Speaker 1: Ronnie Specter, and the rest was filling. Joey's his boy, right, 163 00:11:42,280 --> 00:11:45,559 Speaker 1: he said, Joey's voice reminded him of Dion. Phil had 164 00:11:45,600 --> 00:11:48,160 Speaker 1: just made a record with Dion, so he got Dion 165 00:11:48,360 --> 00:11:51,040 Speaker 1: on the brain. And this makes the rest of the 166 00:11:51,120 --> 00:11:55,560 Speaker 1: Ramones real orderary and tense. They're standing around in that 167 00:11:55,880 --> 00:12:00,319 Speaker 1: arctic wasteland of Hollywood entitlement. The whole place is ripping 168 00:12:00,360 --> 00:12:04,120 Speaker 1: with money and history and irony. And here they are 169 00:12:04,240 --> 00:12:07,160 Speaker 1: a couple of boys from Queens in their leather jackets 170 00:12:07,160 --> 00:12:10,000 Speaker 1: and ripped blue jeans. It's just like a couple of 171 00:12:10,040 --> 00:12:13,720 Speaker 1: rubber duckies floating in a gold plated bathtub filled with 172 00:12:13,800 --> 00:12:19,679 Speaker 1: imported water, getting more and more uncomfortable by the second. Look. 173 00:12:19,920 --> 00:12:22,520 Speaker 1: Those of us who have been stuck in Phil Specter's 174 00:12:22,559 --> 00:12:28,000 Speaker 1: house know what I'm talking about. I honestly, Phil asked 175 00:12:28,000 --> 00:12:30,800 Speaker 1: them how well their records were selling. They had no clue. 176 00:12:31,440 --> 00:12:34,280 Speaker 1: They didn't care about that ship. So he goes to 177 00:12:34,280 --> 00:12:37,200 Speaker 1: another room, comes back with a print out from his computer, 178 00:12:37,760 --> 00:12:41,280 Speaker 1: shows them that their sales have gone down, shows them 179 00:12:41,280 --> 00:12:44,240 Speaker 1: that leave Home sold way less than their first record, 180 00:12:44,880 --> 00:12:48,680 Speaker 1: tells them he can get them back on top. He goes, 181 00:12:49,640 --> 00:12:52,360 Speaker 1: what's it gonna take. You want me to get you 182 00:12:52,440 --> 00:12:55,400 Speaker 1: some girls? You want me to buy you some cars? 183 00:12:56,040 --> 00:12:59,480 Speaker 1: This real l a power broker ship, you know. Let's 184 00:12:59,520 --> 00:13:03,440 Speaker 1: push the his rookie numbers up boys, and then he 185 00:13:03,520 --> 00:13:08,960 Speaker 1: offers them fifty grand each cash on the spot. Right there. 186 00:13:09,480 --> 00:13:11,920 Speaker 1: He picks up the receiver on the phone there in 187 00:13:11,920 --> 00:13:14,959 Speaker 1: that opulent living room and says he'll get his lawyers 188 00:13:15,000 --> 00:13:19,280 Speaker 1: to bring the cash to the house straight away, fifty 189 00:13:19,320 --> 00:13:25,200 Speaker 1: grand each. I think he had. I don't think the 190 00:13:25,200 --> 00:13:29,200 Speaker 1: boys knew what to do with that kind of offer. Meanwhile, 191 00:13:29,280 --> 00:13:32,320 Speaker 1: the whole time this was going on, Ded is getting 192 00:13:32,360 --> 00:13:35,800 Speaker 1: more and more annoyed that Phil is directing the majority 193 00:13:35,840 --> 00:13:39,200 Speaker 1: of his questions and keeping all his attention on Joey. 194 00:13:39,320 --> 00:13:45,360 Speaker 1: Just Joey, Joey, Joey, Joey, Joey. Joey. Joey is like 195 00:13:45,360 --> 00:13:49,960 Speaker 1: a fucking giant to Phil physically and artistically. I can't 196 00:13:49,960 --> 00:13:54,439 Speaker 1: really venture to guess on what he was thinking. Phil 197 00:13:54,520 --> 00:13:57,880 Speaker 1: saw a frontman, but he probably saw a god, and 198 00:13:58,200 --> 00:14:01,840 Speaker 1: he had a god standing in his living room, held captive. 199 00:14:02,600 --> 00:14:04,920 Speaker 1: He was going to give that god a lot of 200 00:14:04,960 --> 00:14:10,720 Speaker 1: cash and do with him what he wanted. You know, today, 201 00:14:10,720 --> 00:14:14,640 Speaker 1: your love, tomorrow, the world and all that. D d 202 00:14:14,800 --> 00:14:17,360 Speaker 1: made some tossed off comment about the whole thing, about 203 00:14:17,360 --> 00:14:20,520 Speaker 1: how bogus it was a joke, really, that dry and 204 00:14:20,560 --> 00:14:24,760 Speaker 1: snarky queen sense of humor. Phil didn't get it. Phil 205 00:14:24,840 --> 00:14:27,720 Speaker 1: was offended, Let's face it, he was always offended by 206 00:14:27,800 --> 00:14:31,280 Speaker 1: something someone said to him. The entitlement of a legend. 207 00:14:31,320 --> 00:14:35,720 Speaker 1: You know. Phil pulled the gun and pointed it straight 208 00:14:35,880 --> 00:14:42,760 Speaker 1: at Deed. Deed was shocked. They were all shocked, and 209 00:14:42,840 --> 00:14:46,920 Speaker 1: he started yelling at Phil. You know I would hit you, man, 210 00:14:47,000 --> 00:14:49,720 Speaker 1: but I respect you too much. That kind of thing, 211 00:14:50,840 --> 00:14:54,680 Speaker 1: and it just got crazier. Roy Carr was there. He 212 00:14:54,760 --> 00:14:57,560 Speaker 1: was a writer for the New Musical Express. He was 213 00:14:57,600 --> 00:15:01,080 Speaker 1: there working on a screenplay of Phil's life. Right, I 214 00:15:01,120 --> 00:15:04,680 Speaker 1: don't think the thing ever got made. So Phil hands 215 00:15:04,680 --> 00:15:07,840 Speaker 1: the gun to Roy and starts striking these kung fu poses. 216 00:15:08,280 --> 00:15:13,120 Speaker 1: He had this guy a meal, a meal farcas, this 217 00:15:13,200 --> 00:15:15,680 Speaker 1: guy who taught him martial arts and worked as one 218 00:15:15,680 --> 00:15:19,400 Speaker 1: of his bodyguards. Emil taught him all this Bruce Lee 219 00:15:19,480 --> 00:15:25,240 Speaker 1: macho posturing stuff. It was right up Phil's alley, right, 220 00:15:26,360 --> 00:15:29,360 Speaker 1: So he hands Roy the gun and he jumps into 221 00:15:29,400 --> 00:15:33,760 Speaker 1: this kung fu stance starts making the noises. D D 222 00:15:33,920 --> 00:15:36,360 Speaker 1: told me it was like some bird giving a mating call. 223 00:15:37,440 --> 00:15:41,320 Speaker 1: So d D is screaming at this point, knowing Deed, 224 00:15:41,960 --> 00:15:44,680 Speaker 1: he is probably worried that he's gonna fucking kill Phil 225 00:15:44,720 --> 00:15:47,360 Speaker 1: Specter in his mansion if the guy gets too close. 226 00:15:48,000 --> 00:15:51,240 Speaker 1: DEED is trying to hold back. His body is all 227 00:15:51,320 --> 00:15:56,000 Speaker 1: ten stup and his fists are clenched. DD is street tough, right. 228 00:15:56,600 --> 00:15:58,840 Speaker 1: This is the guy who wrote fifty three and third, 229 00:15:58,920 --> 00:16:02,800 Speaker 1: the guy who lived to fifty third and third. At 230 00:16:02,800 --> 00:16:06,200 Speaker 1: this point, Joey, Johnny and Tommy are in position, ready 231 00:16:06,240 --> 00:16:09,360 Speaker 1: to back up d D if they need to. And 232 00:16:09,480 --> 00:16:14,000 Speaker 1: here's this wild man, Hollywood big shot, offering them two 233 00:16:14,120 --> 00:16:16,960 Speaker 1: hundred grand in cash and then pulling a gun on 234 00:16:17,040 --> 00:16:21,280 Speaker 1: them and not letting them leave his site. Phil is 235 00:16:21,320 --> 00:16:24,720 Speaker 1: making more noises, waving his arms around in the air. 236 00:16:25,240 --> 00:16:27,120 Speaker 1: He does a scissor kick up in the air and 237 00:16:27,240 --> 00:16:30,520 Speaker 1: DD jumps. He's yelling at Phil that he didn't come 238 00:16:30,520 --> 00:16:33,360 Speaker 1: here to fight he came here to hang out, talk, 239 00:16:33,640 --> 00:16:36,720 Speaker 1: listen to music, and that Phil should really stop before 240 00:16:36,760 --> 00:16:40,280 Speaker 1: someone gets hurt. He wasn't the most friendly guy. I 241 00:16:40,360 --> 00:16:43,520 Speaker 1: loven't Maddy. He tried to be friends and then he 242 00:16:43,640 --> 00:16:46,520 Speaker 1: had just guns on them, and he wouldn't let me 243 00:16:46,520 --> 00:16:48,680 Speaker 1: out of his house for a couple of days, and 244 00:16:49,360 --> 00:16:52,120 Speaker 1: you know, and then he said, if you want to 245 00:16:52,120 --> 00:16:54,960 Speaker 1: play spinball machine, He's like, you play for a minute, 246 00:16:55,400 --> 00:16:58,400 Speaker 1: and then he said, okay, everybody to another room. And 247 00:16:58,480 --> 00:17:04,520 Speaker 1: I never met anyone like him, but no one got hurt, thankfully, 248 00:17:05,800 --> 00:17:09,000 Speaker 1: how they got away from Phil that night. Even Deedy 249 00:17:09,080 --> 00:17:12,080 Speaker 1: and Johnny couldn't fully remember when they told me about it. 250 00:17:15,520 --> 00:17:19,120 Speaker 1: I don't know if anyone remembers how. I certainly don't. 251 00:17:19,720 --> 00:17:23,439 Speaker 1: Who knows if Ronnie does, or Darlene or anyone who 252 00:17:23,520 --> 00:17:27,080 Speaker 1: found themselves one of his eternal late night guests freezing 253 00:17:27,119 --> 00:17:32,560 Speaker 1: their ass off in his ice cold fortress of solitude. 254 00:17:33,480 --> 00:17:38,680 Speaker 1: All anyone remembers is the long, agonizing time spent inside 255 00:17:38,720 --> 00:17:42,720 Speaker 1: that place, watching that man crack and splinter a little 256 00:17:42,720 --> 00:17:45,320 Speaker 1: more every time someone made a move for the door, 257 00:17:46,320 --> 00:17:52,360 Speaker 1: and then the air You remembered, the warm, expansive Los 258 00:17:52,440 --> 00:17:56,199 Speaker 1: Angeles air when you finally found yourself back outside with 259 00:17:56,280 --> 00:18:06,040 Speaker 1: the mansion, tear back. We'll be right back after this world, world, world. 260 00:18:13,720 --> 00:18:17,119 Speaker 1: We were doing the media circuit, The media circus, I 261 00:18:17,240 --> 00:18:21,520 Speaker 1: called it. In May of nine, when the Ramones finally 262 00:18:21,560 --> 00:18:25,800 Speaker 1: gave into Phil's continued advances and made a record with him. 263 00:18:25,840 --> 00:18:28,160 Speaker 1: It must have taken a bit of convincing to get 264 00:18:28,240 --> 00:18:31,560 Speaker 1: d D back in a room with him. That April, 265 00:18:31,960 --> 00:18:34,960 Speaker 1: Heart of Glass had gone platinum and hit number one. 266 00:18:35,960 --> 00:18:39,639 Speaker 1: Blondie was on American Bandstand and Midnight Special and The 267 00:18:39,720 --> 00:18:43,600 Speaker 1: mer Griffin Show and The Mike Douglas Show. It was 268 00:18:43,680 --> 00:18:48,040 Speaker 1: soon after that Rush show in Philadelphia. The rest of 269 00:18:48,040 --> 00:18:50,600 Speaker 1: our year was a complete one eight from that train 270 00:18:50,640 --> 00:18:54,919 Speaker 1: wrenk of a show. We opened for Rush. We tried 271 00:18:55,000 --> 00:18:58,800 Speaker 1: to open for Rush, but their fans hated us. Chris 272 00:18:58,840 --> 00:19:01,240 Speaker 1: gave them the middle finger from stage, and the place 273 00:19:01,280 --> 00:19:05,680 Speaker 1: went full on mutiny. It's hard enough to be an 274 00:19:05,680 --> 00:19:09,280 Speaker 1: opener as it is. Right they boot us through trash 275 00:19:09,280 --> 00:19:12,480 Speaker 1: at us. Phil flipped the bird, Clem kicked over his 276 00:19:12,560 --> 00:19:15,240 Speaker 1: drum set. We made it through one song, maybe two. 277 00:19:16,080 --> 00:19:18,240 Speaker 1: I wasn't thinking much of Phil Specter at that point. 278 00:19:18,320 --> 00:19:21,200 Speaker 1: I gotta tell you I had moved on. I saw 279 00:19:21,240 --> 00:19:23,560 Speaker 1: the writing on the wall that night at his place. 280 00:19:24,119 --> 00:19:26,600 Speaker 1: The writing didn't even have a chance to dry, and 281 00:19:26,640 --> 00:19:33,320 Speaker 1: I knew something was happening. The Ramons must have just 282 00:19:33,440 --> 00:19:37,960 Speaker 1: been gluttons for punishment, right, So we're doing the Circus 283 00:19:38,000 --> 00:19:41,159 Speaker 1: and Heart of Glasses breaking down doors for us. The 284 00:19:41,280 --> 00:19:45,480 Speaker 1: Ramons are stuck in that tiny gold Star Studios in Hollywood, 285 00:19:45,680 --> 00:19:52,440 Speaker 1: Phil's preferred locale for genius and torture. Can you imagine 286 00:19:52,840 --> 00:19:56,240 Speaker 1: stuck in that hole in the wall with him. Deedy 287 00:19:56,280 --> 00:19:59,840 Speaker 1: and Johnny didn't sugarcoat the whole experience. They told it 288 00:20:00,040 --> 00:20:03,080 Speaker 1: like it was, just like anyone would expect the Romans 289 00:20:03,160 --> 00:20:06,720 Speaker 1: to tell it. I remember deed saying I wanted to 290 00:20:06,720 --> 00:20:09,960 Speaker 1: work with him a hundred percent, and I was going 291 00:20:10,040 --> 00:20:14,159 Speaker 1: old for the project. He came off differently. You seemed 292 00:20:14,200 --> 00:20:18,000 Speaker 1: more positive and more able, And when I got into 293 00:20:18,080 --> 00:20:20,959 Speaker 1: the studio I found him to be like a helpless 294 00:20:21,000 --> 00:20:23,520 Speaker 1: little boy or something. You didn't know what to do, 295 00:20:24,080 --> 00:20:27,600 Speaker 1: and that just stifles creativity. When you just hang around 296 00:20:27,640 --> 00:20:31,240 Speaker 1: and agony and frustration and stomp your food, you know, 297 00:20:31,359 --> 00:20:35,439 Speaker 1: that doesn't bring out anything in anybody. Phil was drinking 298 00:20:35,440 --> 00:20:38,000 Speaker 1: a lot by this point. He didn't used to drink 299 00:20:38,000 --> 00:20:39,960 Speaker 1: at all, from what I've been told, But now he 300 00:20:40,040 --> 00:20:42,480 Speaker 1: was hitting the man a chef. It's heart straight from 301 00:20:42,480 --> 00:20:45,199 Speaker 1: a thermis into a plastic cup he'd sip from with 302 00:20:45,240 --> 00:20:49,240 Speaker 1: a straw, like only a person who thinks he's refined, 303 00:20:49,240 --> 00:20:55,600 Speaker 1: but he's really not good. And he brought in all 304 00:20:55,600 --> 00:20:58,520 Speaker 1: these other session players to be on the record. He 305 00:20:58,600 --> 00:21:01,960 Speaker 1: told the Ramans they were the spand in America. But 306 00:21:02,000 --> 00:21:05,240 Speaker 1: then who wouldn't let them be the Ramones? They would 307 00:21:05,280 --> 00:21:09,160 Speaker 1: be Phil's version of the Romans. Johnny nailed it when 308 00:21:09,160 --> 00:21:13,320 Speaker 1: he said, working with Phil is very difficult. I guess 309 00:21:13,359 --> 00:21:15,399 Speaker 1: he's a perfectionist. So we like to spend a lot 310 00:21:15,440 --> 00:21:19,600 Speaker 1: of time redoing things and relistening, and it's very time consuming. 311 00:21:19,680 --> 00:21:22,440 Speaker 1: I mean, rock and roll's gotta be spontaneous and done 312 00:21:22,440 --> 00:21:25,280 Speaker 1: a little faster. It was hard for the rest of them. 313 00:21:25,359 --> 00:21:28,960 Speaker 1: For the boys who weren't Joey. Bill had Joey saying 314 00:21:29,160 --> 00:21:31,639 Speaker 1: Ronnie's Baby, I'd love you like the band was the 315 00:21:31,680 --> 00:21:35,040 Speaker 1: second coming of the Runettes. And meanwhile the boys are 316 00:21:35,080 --> 00:21:39,359 Speaker 1: twiddling their thumbs. Marky and Deedy hit the strip and 317 00:21:39,400 --> 00:21:43,879 Speaker 1: search out its legendary seed nightlife they were like Ringo 318 00:21:44,000 --> 00:21:47,040 Speaker 1: and George lost in a sea of boredom while Paul 319 00:21:47,119 --> 00:21:52,120 Speaker 1: labored over Sergeant Pepper's I like beauty to be instant, 320 00:21:52,560 --> 00:21:56,080 Speaker 1: you know, not to be labored over. And I don't 321 00:21:56,119 --> 00:21:59,399 Speaker 1: like music to be a hustle. Johnny just about lost 322 00:21:59,480 --> 00:22:03,480 Speaker 1: his mind when Phil spent something like twelve hours working 323 00:22:03,520 --> 00:22:06,159 Speaker 1: on the opening chord to Rock and Roll High School, 324 00:22:06,480 --> 00:22:10,120 Speaker 1: like an entire session. Man, No, he's just too difficult 325 00:22:10,160 --> 00:22:12,840 Speaker 1: to work with them. It's too costly and time consuming. 326 00:22:12,960 --> 00:22:16,960 Speaker 1: And in the nineteen eighties times have changed, and most 327 00:22:17,000 --> 00:22:20,560 Speaker 1: producers from the mid sixties and haven't really grown with 328 00:22:20,560 --> 00:22:25,159 Speaker 1: those changes. There's a new modern sound and he doesn't 329 00:22:25,200 --> 00:22:28,840 Speaker 1: have it. Johnny took as much as he could reasonably take, 330 00:22:29,359 --> 00:22:34,120 Speaker 1: hours and hours listening to one chord, making everything just right, 331 00:22:34,400 --> 00:22:38,000 Speaker 1: just so. He finally stood up and walked for the door. 332 00:22:38,800 --> 00:22:42,000 Speaker 1: And there's Phil with his gonzo thug threats, telling him 333 00:22:42,080 --> 00:22:43,960 Speaker 1: what's going to happen if he walks out the door. 334 00:22:44,800 --> 00:22:47,959 Speaker 1: Phil his Colt forty five snug in the holster against 335 00:22:47,960 --> 00:22:50,399 Speaker 1: the side of his chest. Who the hell do you 336 00:22:50,440 --> 00:22:55,040 Speaker 1: think you're talking to? And all that macho big shop posture, 337 00:22:56,119 --> 00:23:00,720 Speaker 1: and Johnny just goes, what are you gonna do? Shoot me? Later, 338 00:23:00,800 --> 00:23:04,080 Speaker 1: Johnny told me he spent twelve hours sitting there listening 339 00:23:04,119 --> 00:23:07,600 Speaker 1: to that same chord over and over again. Nobody else 340 00:23:07,640 --> 00:23:10,439 Speaker 1: could hear the difference. I mean, the chord ended up 341 00:23:10,480 --> 00:23:13,439 Speaker 1: sounding okay, but twelve hours worth it really worth it. 342 00:23:13,760 --> 00:23:17,119 Speaker 1: You know, you just go crazy. We'd be as crazy 343 00:23:17,160 --> 00:23:20,720 Speaker 1: as him if we worked with him. But d D 344 00:23:21,400 --> 00:23:24,399 Speaker 1: d D said it best as usual, just summed up 345 00:23:24,440 --> 00:23:27,159 Speaker 1: the whole experience in the way that only d D can. 346 00:23:28,280 --> 00:23:30,639 Speaker 1: You seemed like a man walk in his last mile 347 00:23:31,280 --> 00:23:35,720 Speaker 1: doing our record. You know that grim He had been 348 00:23:35,760 --> 00:23:38,000 Speaker 1: walking that walk for a long time. Let me tell 349 00:23:38,080 --> 00:23:41,520 Speaker 1: you a long time. It was a long walk to 350 00:23:41,600 --> 00:23:44,679 Speaker 1: make to go from such a genius and such a 351 00:23:44,720 --> 00:23:48,320 Speaker 1: front runner and such an inventive producer to a man 352 00:23:48,520 --> 00:23:51,960 Speaker 1: stuck in the accomplishments of his past, a man who 353 00:23:52,000 --> 00:23:55,639 Speaker 1: wanted to be admired so bad he would literally hold 354 00:23:55,720 --> 00:24:00,840 Speaker 1: admiration hostage in his own house. That's a long walk. 355 00:24:01,840 --> 00:24:05,040 Speaker 1: I didn't want to walk beside him. I knew that 356 00:24:05,119 --> 00:24:07,080 Speaker 1: from the night he brought us back to the mansion. 357 00:24:08,320 --> 00:24:12,000 Speaker 1: Unlike the Ramons, the first time I stepped foot inside 358 00:24:12,119 --> 00:24:41,520 Speaker 1: his place was the last time I'd ever see him. 359 00:24:41,640 --> 00:24:47,920 Speaker 1: February four, New York City, After seven months, two dollars 360 00:24:47,920 --> 00:24:50,800 Speaker 1: and more repeated takes of the same chord than anyone 361 00:24:50,920 --> 00:24:55,320 Speaker 1: cared to remember, the Ramones released their fifth studio album, 362 00:24:55,320 --> 00:24:57,520 Speaker 1: It Costs more than three times to make than the 363 00:24:57,560 --> 00:25:01,280 Speaker 1: typical Ramons album. End of the Century, was produced by 364 00:25:01,359 --> 00:25:04,760 Speaker 1: Phil Specter, who gave the band the same hollow promises 365 00:25:04,800 --> 00:25:08,080 Speaker 1: he had given Leonard Cohen a few years before, the 366 00:25:08,160 --> 00:25:10,919 Speaker 1: kind of promises that only a man with ego money 367 00:25:11,000 --> 00:25:13,800 Speaker 1: in time to spare can make. This is gonna be 368 00:25:13,840 --> 00:25:16,919 Speaker 1: a hit, This is gonna change your life. Of course, 369 00:25:17,000 --> 00:25:20,240 Speaker 1: the record did neither for the Rammans. To Johnny Ramone, 370 00:25:20,320 --> 00:25:24,840 Speaker 1: the whole prolonged chapter in their career was rife with redundancies, conflict, 371 00:25:24,880 --> 00:25:29,720 Speaker 1: and acrimony. To Johnny, it was all Joey, Joey, Joey, Joey, Joey. 372 00:25:29,760 --> 00:25:32,360 Speaker 1: He repeated the name over and over again every time 373 00:25:32,359 --> 00:25:38,600 Speaker 1: his arm jackhammered eighth note down strokes onto his guitar. Joey, Joey, Joey, Joey, Joey. 374 00:25:38,800 --> 00:25:41,800 Speaker 1: Johnny took all his frustration, all his disappointment, all his 375 00:25:41,920 --> 00:25:45,439 Speaker 1: pain and put it into each whiplash riff. Joey Ramone 376 00:25:45,440 --> 00:25:48,560 Speaker 1: had been Phil Specter's pet. Phil heard his past hits 377 00:25:48,560 --> 00:25:51,480 Speaker 1: and Joey's voice the rest of them they could all 378 00:25:51,480 --> 00:25:54,800 Speaker 1: go pound sand for all. Phil cared d and Marky 379 00:25:54,840 --> 00:25:57,200 Speaker 1: didn't even know how the thing was ever finished, because 380 00:25:57,320 --> 00:25:59,520 Speaker 1: they felt like they didn't even play on most of it. 381 00:26:00,480 --> 00:26:02,920 Speaker 1: In the same month, the photo of Debbie Harry taken 382 00:26:02,920 --> 00:26:06,720 Speaker 1: by mc rock grace the cover of Penthouse Magazine inner 383 00:26:06,760 --> 00:26:11,159 Speaker 1: typically subversive style that ran opposite to the magazine's exploitative style. 384 00:26:11,680 --> 00:26:15,400 Speaker 1: Debbie was fully clothed in black up to her neck. Soon, 385 00:26:15,520 --> 00:26:17,639 Speaker 1: Blondie would head to l A and make their first 386 00:26:17,680 --> 00:26:20,520 Speaker 1: album outside of New York, an album that would feature 387 00:26:20,640 --> 00:26:22,800 Speaker 1: Rapture and The Tide Is High and give them the 388 00:26:22,880 --> 00:26:25,840 Speaker 1: kind of fame and success that someone like Phil Specter 389 00:26:26,000 --> 00:26:30,680 Speaker 1: would promise but as of late, failed to deliver. Johnny 390 00:26:30,760 --> 00:26:33,320 Speaker 1: Ramone watched End of the Century climbed at number forty 391 00:26:33,359 --> 00:26:36,480 Speaker 1: four in the US charts, where its stalled to add 392 00:26:36,520 --> 00:26:39,639 Speaker 1: Insult to Injury, Though it was technically the band's highest 393 00:26:39,680 --> 00:26:42,959 Speaker 1: peaking album on the charts. To Johnny's ears, it was 394 00:26:43,000 --> 00:26:45,800 Speaker 1: the record that sounded the least like the band. It 395 00:26:45,920 --> 00:26:49,920 Speaker 1: was watered down Ramon's Ramon's light, weak sauce. It wasn't 396 00:26:49,920 --> 00:26:52,879 Speaker 1: punk rock at all. Nothing about it was punk. It 397 00:26:52,960 --> 00:26:56,280 Speaker 1: was Phil Specter's version of the Ramones, just like Let 398 00:26:56,320 --> 00:26:59,000 Speaker 1: It Be had been his version of the Beatles, and 399 00:26:59,080 --> 00:27:03,239 Speaker 1: that hurt Johnny. But anyone's pain, anyone's suffering, would be 400 00:27:03,320 --> 00:27:05,960 Speaker 1: nothing but a walk down a primrose path when the 401 00:27:06,000 --> 00:27:10,480 Speaker 1: true pain hit ten months later. The pain that lay 402 00:27:10,520 --> 00:27:13,560 Speaker 1: there waiting to grip the entire world didn't matter if 403 00:27:13,560 --> 00:27:16,159 Speaker 1: you were Johnny Ramone or Debbie Harry. Didn't matter if 404 00:27:16,160 --> 00:27:18,760 Speaker 1: you were Rodney on the Arrow que or Roy Carr 405 00:27:18,880 --> 00:27:22,640 Speaker 1: or Dion. The pain gripped you. But it gripped Phil 406 00:27:22,720 --> 00:27:26,199 Speaker 1: Specter harder than a gripped most. It found Phil Specter 407 00:27:26,280 --> 00:27:29,560 Speaker 1: alone in his cold mansion on luck Collina Drive, found 408 00:27:29,640 --> 00:27:34,760 Speaker 1: him vulnerable and unprepared. H This evening, John Lennon arrived 409 00:27:34,920 --> 00:27:39,919 Speaker 1: the emergency room at Roosevelt Hospital. He was dead on 410 00:27:40,600 --> 00:27:46,040 Speaker 1: at the time of his arrival. Numerous resuscitative efforts were 411 00:27:46,040 --> 00:27:53,040 Speaker 1: made after his arrival at the hospital, including transfusions, surgical procedures, 412 00:27:54,000 --> 00:28:00,120 Speaker 1: other procedures, but in spite of the effort of many physicians, 413 00:28:00,200 --> 00:28:05,280 Speaker 1: and after many procedures, we were unable to restore the 414 00:28:05,320 --> 00:28:11,040 Speaker 1: life of Mr Lenna. Phil was struck dumb. He felt destroyed, 415 00:28:11,119 --> 00:28:14,560 Speaker 1: blown down to his core. He felt friendless, hitless, and 416 00:28:14,640 --> 00:28:18,120 Speaker 1: now jauntless. He didn't know if he would be able 417 00:28:18,160 --> 00:28:21,480 Speaker 1: to face the world without John. He walked slowly through 418 00:28:21,480 --> 00:28:23,720 Speaker 1: the long halls and wide open rooms of the law 419 00:28:23,800 --> 00:28:27,800 Speaker 1: Colina Mansion, slowly up the staircase, past the Steinway and 420 00:28:27,840 --> 00:28:31,880 Speaker 1: the Picasso, past the French Empire furniture, past the Whoopee 421 00:28:31,880 --> 00:28:35,320 Speaker 1: cushions and joke shop chattering teeth, past the Motley fusion 422 00:28:35,359 --> 00:28:38,680 Speaker 1: of high and low art. Until he reached the bedroom. 423 00:28:38,680 --> 00:28:41,640 Speaker 1: He thought of Tittenhurst Park, of Abbey Road of New York, 424 00:28:42,680 --> 00:28:44,960 Speaker 1: and as he closed the door and locked himself in 425 00:28:45,000 --> 00:28:47,680 Speaker 1: his bedroom, he thought about the games he had played 426 00:28:47,720 --> 00:28:50,960 Speaker 1: over the years, the games that left tragedies in their wake, 427 00:28:51,320 --> 00:29:07,640 Speaker 1: the games that left blood on the tracks. This episode 428 00:29:07,640 --> 00:29:09,240 Speaker 1: of Blood on the Tracks is brought to you by 429 00:29:09,280 --> 00:29:12,520 Speaker 1: twenty seven Club, a podcast that I host on musicians 430 00:29:12,520 --> 00:29:16,240 Speaker 1: who died at the age of Season two, featuring Jim Morrison, 431 00:29:16,320 --> 00:29:19,040 Speaker 1: is now available, as is season one, with twelve episodes. 432 00:29:19,080 --> 00:29:22,240 Speaker 1: Featuring Jimmy Hendrix. Subscribe to the twenty seven Club on 433 00:29:22,280 --> 00:29:25,520 Speaker 1: Apple podcast, I Heart Radio app or wherever you get 434 00:29:25,640 --> 00:29:28,840 Speaker 1: you podcast, and of course, this episode was also brought 435 00:29:28,840 --> 00:29:31,360 Speaker 1: to you by Disgrace Land, the award winning music and 436 00:29:31,400 --> 00:29:34,880 Speaker 1: true crime podcast also hosted by Yours Truly. Episodes on 437 00:29:34,920 --> 00:29:37,960 Speaker 1: The Rolling Stones, Jerry Lewis, Cardi b, The Grateful Dead, 438 00:29:38,040 --> 00:29:40,840 Speaker 1: j Z Prince and many many more are all waiting 439 00:29:40,840 --> 00:29:44,640 Speaker 1: for you right now. Just search Disgrace Land on Apple podcast, 440 00:29:44,720 --> 00:29:47,760 Speaker 1: the I Heart Radio app, or wherever you get your podcast. 441 00:29:49,640 --> 00:29:51,480 Speaker 1: All right. This episode of Blood on the Tracks was 442 00:29:51,560 --> 00:29:54,640 Speaker 1: written by Zeth Lundi and scored in mixed by Matt Bode, 443 00:29:54,960 --> 00:29:58,600 Speaker 1: Hosted by me Jake Brennan. Additional music and score elements 444 00:29:58,640 --> 00:30:02,480 Speaker 1: by Ryan Spreaker and Henry Unette. This episode featured ruby 445 00:30:02,520 --> 00:30:05,480 Speaker 1: rose boxes that we had. Blood on the Tracks is 446 00:30:05,480 --> 00:30:08,560 Speaker 1: produced by myself for Double Elvis and partnership with I 447 00:30:08,800 --> 00:30:12,240 Speaker 1: Heart Rate. Sources for this episode are available at double 448 00:30:12,240 --> 00:30:15,160 Speaker 1: Elvis dot com on the Blood on the Tracks series page. 449 00:30:15,600 --> 00:30:17,320 Speaker 1: If you like it, you hear, please be sure to 450 00:30:17,320 --> 00:30:19,880 Speaker 1: subscribe the Blood on the Tracks on Apple podcast, I 451 00:30:20,000 --> 00:30:23,000 Speaker 1: Heart Radio app, wherever you get your podcasts. And if 452 00:30:23,000 --> 00:30:24,800 Speaker 1: you'd like to win a free Blood on the Tracks 453 00:30:24,840 --> 00:30:27,800 Speaker 1: poster designed by Nike Gonzalez and leave a review for 454 00:30:27,840 --> 00:30:31,040 Speaker 1: Blood on the Tracks on Apple Podcast, you can hashtag 455 00:30:31,040 --> 00:30:33,680 Speaker 1: Blood on the Tracks on social media leave you review there. 456 00:30:33,800 --> 00:30:36,600 Speaker 1: We'll pick two winners each week and announced them on 457 00:30:36,680 --> 00:30:40,280 Speaker 1: the Double Elvis Instagram page that's at Double Elvis. Go 458 00:30:40,280 --> 00:30:42,760 Speaker 1: ahead and give that a fallow, all right. As always, 459 00:30:42,800 --> 00:30:45,080 Speaker 1: you can find me blabbing about other crazy rock stars 460 00:30:45,320 --> 00:30:48,640 Speaker 1: on Disgrace, Land and seven Club, and you can talk 461 00:30:48,680 --> 00:30:52,320 Speaker 1: to me per usual on Instagram and Twitter at Disgrace 462 00:30:52,400 --> 00:31:04,880 Speaker 1: and Land Rock am H Diet Crazy