Speaker 1: Blood on the Tracks is the production of I Heart
Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius,
Speaker 1: one of the most successful record producers of all time.
Speaker 1: He's now sitting behind bars, serving a nineteen years to
Speaker 1: life sentence for murder. This is his story told by
Speaker 1: his so called friends. This is Special Agent Paul Ramon
Speaker 1: with a Federal Bureau of Investigation, working case number double
Speaker 1: oh four DASH ten death seven four one nine case
Speaker 1: subject as Specter Philip Harvey. This information pertains to a
Speaker 1: period ending February four. Interview subjects Harry debrah Ann Interview
Speaker 1: number six STAPH six six STAPs five to four DEAP
Speaker 1: two O two Recall number six data's February two thousand five.
Speaker 1: Gons were his fascination. He showed them off, waved them around.
Speaker 1: It's tragic the way things turned out for him, because
Speaker 1: being such a genius and such a front runner and
Speaker 1: an inventive producer, it seems awful what happened. I honestly
Speaker 1: wish it didn't happen. I don't wish that sort of
Speaker 1: thing on anything. He obviously made a terrible mistake, but
Speaker 1: it's not terribly surprising that he could make such a mistake.
Speaker 1: You understand what I'm talking about. I think he had
Speaker 1: a wild side to him of reputation. I can't really
Speaker 1: venture to guess on what he was thinking. I think
Speaker 1: it was sort of a game to him, and sometimes
Speaker 1: games turn out badly. The kind of game he played
Speaker 1: was the kind of left tragedies in their wake, the
Speaker 1: kind at leaves blood on the drugs m H. Chapter six,
Speaker 1: Phil Specter and Debbie Harry. I'm not saying the guy
Speaker 1: wasn't a genius, because obviously he was listened to his records.
Speaker 1: The genius is there. It was what he perceived to
Speaker 1: be the size and scope of his own genius that
Speaker 1: was the problem. He thought he was the second coming
Speaker 1: of Wagner and that everyone should step aside make way
Speaker 1: for Wagner Jr. But more often than not, the man
Speaker 1: was nothing more than a vindictive, petty thug. The pettiest thugs,
Speaker 1: of course, the thug who hides behind bigger thugs, guys
Speaker 1: like George Brand, the guys who would follow him around
Speaker 1: and flank him at the restaurant the studio, arms crossed
Speaker 1: against their chest, Phil and George would pull guns from
Speaker 1: their holsters and compare them like some big dick contest.
Speaker 1: But you know, the motivation behind some overcompensating handgun jive
Speaker 1: is anything but big. If you know what I'm saying.
Speaker 1: Someone told me he even brought his thugs to his
Speaker 1: tenure high school reunion. Can you imagine everyone else shows
Speaker 1: up with their wife for their husband a date at least,
Speaker 1: and here comes the second Coming of Wagner, walking tandem
Speaker 1: with some mute muscle head less of Wagner incarnate than
Speaker 1: he was. The helicopter and Apocalypse now blaring Wagner at
Speaker 1: full blast him. He just humiliated everyone in his path.
Speaker 1: It was his revenge on a world that had humiliated him.
Speaker 1: That cologne he wore, that Caesar cologne, I think it was.
Speaker 1: He just swam in this stuff. It was like fucking
Speaker 1: napalm to the rest of us. I was used to it.
Speaker 1: I was used to this particular strain of Caesar drenched
Speaker 1: male ego. My whole stage persona and Blondie was that
Speaker 1: of a woman from a man's point of view. After all,
Speaker 1: I lived in that world. I was surrounded by guys
Speaker 1: in Blondie and guys in every other band in New
Speaker 1: York City. Tina was the only exception to that rule.
Speaker 1: I'd heard everything been asked, everything been told, everything been
Speaker 1: sized up, belittled, propositioned, humiliated. But I'd never had a
Speaker 1: gun pulled on me before. When you feel a forty
Speaker 1: five pressed into the worn leather of your thigh high boot,
Speaker 1: you know it's a forty five. Doesn't matter if you've
Speaker 1: never felt it before, you just know. All the warning
Speaker 1: signs were there. Our His reputation preceded him, of course,
Speaker 1: just like his Caesar cologne. We had heard all the stories,
Speaker 1: and then he was there in our dressing room. Blundie
Speaker 1: had made the jump from New York to l A.
Speaker 1: It was like cheap trick playing Buddhican. They loved us
Speaker 1: in l A in a way that New York could
Speaker 1: never love us. We did a week's residency at the Whiskey.
Speaker 1: Tom Petty and the Heartbreakers opened, and then we did
Speaker 1: a second week with the Ramones. The crowds po God
Speaker 1: and Body slammed. The room was electric night after night.
Speaker 1: We were upstairs in one of those cramped dressing rooms
Speaker 1: after one of the shows with the Ramones. You think
Speaker 1: New York dressing rooms are small. Joey was hunched over
Speaker 1: and Phil walks in. He's in a long black cape,
Speaker 1: black shirt, black tie, black sunglasses, beard and big hair,
Speaker 1: a big cross hung from a chain around his neck.
Speaker 1: He looks like Dracula's hairdresser. He has walked through centuries,
Speaker 1: untouched by time. He's got a button on that says
Speaker 1: in the flesh, you know, from a first record. And
Speaker 1: he kicks everyone out but us. He kicks out Joe
Speaker 1: and the boys. He's there to see us. We were
Speaker 1: used to playing second fiddle to all the others in
Speaker 1: New York, but they're on the sunset strip. Phil Specter
Speaker 1: thinks we're the tops, So okay. He kicks everyone out.
Speaker 1: He shuts the door, stands in front of it and
Speaker 1: just talks about all the hit records he made. He
Speaker 1: talks about the way things used to be, about echo Chambers,
Speaker 1: about songwriting producer Tina, this Righteous Brothers. That he talked
Speaker 1: about us, about Blondie. He was obviously interested in us,
Speaker 1: interested in the sixties girl group throwbacks from our first record. Well,
Speaker 1: he was interested in me. I'm sure of that. I've
Speaker 1: seen that look a million times before. The thousand yards
Speaker 1: stare of a man who thinks you're the one thing
Speaker 1: when you're clearly not Chris or Clem or one of
Speaker 1: the guys would catch on and say something to funk
Speaker 1: with him, and his half fawning, half grandfatherly attitude would
Speaker 1: snap into what the hell do you think you're talking to?
Speaker 1: He would say, and the small room would tense up.
Speaker 1: He had two tall, twin girls with him. They stood
Speaker 1: watch at the door to make sure no one would
Speaker 1: get in. Every time he lost his temper, neither one
Speaker 1: of them would flinch. Was all very strange. We hung
Speaker 1: around that room for a long time, wondering if we'd
Speaker 1: ever leave. So eventually he invited us back to his mansion,
Speaker 1: which is right up the road from the Whiskey, up
Speaker 1: the hill from Hollywood, heading towards the valley. We figured
Speaker 1: that in every day that a major producer invited us
Speaker 1: to come hang at his mansion, right, so why wouldn't
Speaker 1: we we wind up the road. He greets us at
Speaker 1: the front door, which sounds like something he rarely did.
Speaker 1: He liked to make people wait, create spence, tension, not
Speaker 1: us man. He had a bottle of man of Chevets
Speaker 1: in one hand, his cold forty five in the other.
Speaker 1: What he was thinking it probably should have turned around
Speaker 1: right then. I mean, if that's not an ominous sign,
Speaker 1: the guy's whack job colors are in full flight. Inside
Speaker 1: the place was a meat locker. The a C was
Speaker 1: on full blast. The place was so cold, so dark.
Speaker 1: It's at this point I'm thinking that the whole Dracula's
Speaker 1: Hairdresser thing ain't so far off. We talked for a while.
Speaker 1: Phil says he wants to produce us, and every time
Speaker 1: we try to say we'll think about it and make
Speaker 1: a move for the door, he stops us. A little
Speaker 1: bit longer. He sat down at the piano started to
Speaker 1: bang out be My Baby and these other unette songs.
Speaker 1: He told me to sit down on the bench next
Speaker 1: to him, wanted me to sing with him, and for
Speaker 1: Chris to grab his guitar and play along. He was
Speaker 1: orchestrating some spontaneous jam session, but there was nothing spontaneous
Speaker 1: about it. The gun thing happened soon after we had
Speaker 1: moved to the couch, still engaged in this uncomfortable hang,
Speaker 1: still being held against our will in this winking kind
Speaker 1: of elbow nudging sort of way. Phil came up from
Speaker 1: behind and stuck that forty five between my leg and
Speaker 1: the leather of my thigh high boot. He goes bang, bang,
Speaker 1: and then laughs. I was like, get me the fuck
Speaker 1: out of here. The same thing happened to the Ramones.
Speaker 1: You know, Johnny and Deedy told me all about it.
Speaker 1: We didn't really know how difficult it is to work
Speaker 1: with the guy before we stepped into it. We found out.
Speaker 1: I guess when Phil realized he wasn't going to get
Speaker 1: to work with Blondie, he went for the next best thing.
Speaker 1: He put his sights on the Ramones. The boys told
Speaker 1: me all about it. They were back in l a
Speaker 1: later in seven and Phil comes to their show just
Speaker 1: like he came to ours. He goes backstage just like
Speaker 1: he had done with us, tells them that he thinks
Speaker 1: of the best band in America, tells them he wants
Speaker 1: to produce them, and he invites the group back to
Speaker 1: the Mansion. Now, the Ramones weren't as polite and accommodating
Speaker 1: as we were, which is saying a lot. So at
Speaker 1: the Mansion, It's obvious Phil thinks of the band as
Speaker 1: Joey Ramone and his throwaway backup players, just like he
Speaker 1: looked at Blondie as Deborah Harry and a bunch of
Speaker 1: random guys, know what I mean. I think his concept
Speaker 1: of a van was very myopic. They couldn't be a
Speaker 1: collective unit. They had to have a star. They had
Speaker 1: Ronnie Specter, and the rest was filling. Joey's his boy, right,
Speaker 1: he said, Joey's voice reminded him of Dion. Phil had
Speaker 1: just made a record with Dion, so he got Dion
Speaker 1: on the brain. And this makes the rest of the
Speaker 1: Ramones real orderary and tense. They're standing around in that
Speaker 1: arctic wasteland of Hollywood entitlement. The whole place is ripping
Speaker 1: with money and history and irony. And here they are
Speaker 1: a couple of boys from Queens in their leather jackets
Speaker 1: and ripped blue jeans. It's just like a couple of
Speaker 1: rubber duckies floating in a gold plated bathtub filled with
Speaker 1: imported water, getting more and more uncomfortable by the second. Look.
Speaker 1: Those of us who have been stuck in Phil Specter's
Speaker 1: house know what I'm talking about. I honestly, Phil asked
Speaker 1: them how well their records were selling. They had no clue.
Speaker 1: They didn't care about that ship. So he goes to
Speaker 1: another room, comes back with a print out from his computer,
Speaker 1: shows them that their sales have gone down, shows them
Speaker 1: that leave Home sold way less than their first record,
Speaker 1: tells them he can get them back on top. He goes,
Speaker 1: what's it gonna take. You want me to get you
Speaker 1: some girls? You want me to buy you some cars?
Speaker 1: This real l a power broker ship, you know. Let's
Speaker 1: push the his rookie numbers up boys, and then he
Speaker 1: offers them fifty grand each cash on the spot. Right there.
Speaker 1: He picks up the receiver on the phone there in
Speaker 1: that opulent living room and says he'll get his lawyers
Speaker 1: to bring the cash to the house straight away, fifty
Speaker 1: grand each. I think he had. I don't think the
Speaker 1: boys knew what to do with that kind of offer. Meanwhile,
Speaker 1: the whole time this was going on, Ded is getting
Speaker 1: more and more annoyed that Phil is directing the majority
Speaker 1: of his questions and keeping all his attention on Joey.
Speaker 1: Just Joey, Joey, Joey, Joey, Joey. Joey. Joey is like
Speaker 1: a fucking giant to Phil physically and artistically. I can't
Speaker 1: really venture to guess on what he was thinking. Phil
Speaker 1: saw a frontman, but he probably saw a god, and
Speaker 1: he had a god standing in his living room, held captive.
Speaker 1: He was going to give that god a lot of
Speaker 1: cash and do with him what he wanted. You know, today,
Speaker 1: your love, tomorrow, the world and all that. D d
Speaker 1: made some tossed off comment about the whole thing, about
Speaker 1: how bogus it was a joke, really, that dry and
Speaker 1: snarky queen sense of humor. Phil didn't get it. Phil
Speaker 1: was offended, Let's face it, he was always offended by
Speaker 1: something someone said to him. The entitlement of a legend.
Speaker 1: You know. Phil pulled the gun and pointed it straight
Speaker 1: at Deed. Deed was shocked. They were all shocked, and
Speaker 1: he started yelling at Phil. You know I would hit you, man,
Speaker 1: but I respect you too much. That kind of thing,
Speaker 1: and it just got crazier. Roy Carr was there. He
Speaker 1: was a writer for the New Musical Express. He was
Speaker 1: there working on a screenplay of Phil's life. Right, I
Speaker 1: don't think the thing ever got made. So Phil hands
Speaker 1: the gun to Roy and starts striking these kung fu poses.
Speaker 1: He had this guy a meal, a meal farcas, this
Speaker 1: guy who taught him martial arts and worked as one
Speaker 1: of his bodyguards. Emil taught him all this Bruce Lee
Speaker 1: macho posturing stuff. It was right up Phil's alley, right,
Speaker 1: So he hands Roy the gun and he jumps into
Speaker 1: this kung fu stance starts making the noises. D D
Speaker 1: told me it was like some bird giving a mating call.
Speaker 1: So d D is screaming at this point, knowing Deed,
Speaker 1: he is probably worried that he's gonna fucking kill Phil
Speaker 1: Specter in his mansion if the guy gets too close.
Speaker 1: DEED is trying to hold back. His body is all
Speaker 1: ten stup and his fists are clenched. DD is street tough, right.
Speaker 1: This is the guy who wrote fifty three and third,
Speaker 1: the guy who lived to fifty third and third. At
Speaker 1: this point, Joey, Johnny and Tommy are in position, ready
Speaker 1: to back up d D if they need to. And
Speaker 1: here's this wild man, Hollywood big shot, offering them two
Speaker 1: hundred grand in cash and then pulling a gun on
Speaker 1: them and not letting them leave his site. Phil is
Speaker 1: making more noises, waving his arms around in the air.
Speaker 1: He does a scissor kick up in the air and
Speaker 1: DD jumps. He's yelling at Phil that he didn't come
Speaker 1: here to fight he came here to hang out, talk,
Speaker 1: listen to music, and that Phil should really stop before
Speaker 1: someone gets hurt. He wasn't the most friendly guy. I
Speaker 1: loven't Maddy. He tried to be friends and then he
Speaker 1: had just guns on them, and he wouldn't let me
Speaker 1: out of his house for a couple of days, and
Speaker 1: you know, and then he said, if you want to
Speaker 1: play spinball machine, He's like, you play for a minute,
Speaker 1: and then he said, okay, everybody to another room. And
Speaker 1: I never met anyone like him, but no one got hurt, thankfully,
Speaker 1: how they got away from Phil that night. Even Deedy
Speaker 1: and Johnny couldn't fully remember when they told me about it.
Speaker 1: I don't know if anyone remembers how. I certainly don't.
Speaker 1: Who knows if Ronnie does, or Darlene or anyone who
Speaker 1: found themselves one of his eternal late night guests freezing
Speaker 1: their ass off in his ice cold fortress of solitude.
Speaker 1: All anyone remembers is the long, agonizing time spent inside
Speaker 1: that place, watching that man crack and splinter a little
Speaker 1: more every time someone made a move for the door,
Speaker 1: and then the air You remembered, the warm, expansive Los
Speaker 1: Angeles air when you finally found yourself back outside with
Speaker 1: the mansion, tear back. We'll be right back after this world, world, world.
Speaker 1: We were doing the media circuit, The media circus, I
Speaker 1: called it. In May of nine, when the Ramones finally
Speaker 1: gave into Phil's continued advances and made a record with him.
Speaker 1: It must have taken a bit of convincing to get
Speaker 1: d D back in a room with him. That April,
Speaker 1: Heart of Glass had gone platinum and hit number one.
Speaker 1: Blondie was on American Bandstand and Midnight Special and The
Speaker 1: mer Griffin Show and The Mike Douglas Show. It was
Speaker 1: soon after that Rush show in Philadelphia. The rest of
Speaker 1: our year was a complete one eight from that train
Speaker 1: wrenk of a show. We opened for Rush. We tried
Speaker 1: to open for Rush, but their fans hated us. Chris
Speaker 1: gave them the middle finger from stage, and the place
Speaker 1: went full on mutiny. It's hard enough to be an
Speaker 1: opener as it is. Right they boot us through trash
Speaker 1: at us. Phil flipped the bird, Clem kicked over his
Speaker 1: drum set. We made it through one song, maybe two.
Speaker 1: I wasn't thinking much of Phil Specter at that point.
Speaker 1: I gotta tell you I had moved on. I saw
Speaker 1: the writing on the wall that night at his place.
Speaker 1: The writing didn't even have a chance to dry, and
Speaker 1: I knew something was happening. The Ramons must have just
Speaker 1: been gluttons for punishment, right, So we're doing the Circus
Speaker 1: and Heart of Glasses breaking down doors for us. The
Speaker 1: Ramons are stuck in that tiny gold Star Studios in Hollywood,
Speaker 1: Phil's preferred locale for genius and torture. Can you imagine
Speaker 1: stuck in that hole in the wall with him. Deedy
Speaker 1: and Johnny didn't sugarcoat the whole experience. They told it
Speaker 1: like it was, just like anyone would expect the Romans
Speaker 1: to tell it. I remember deed saying I wanted to
Speaker 1: work with him a hundred percent, and I was going
Speaker 1: old for the project. He came off differently. You seemed
Speaker 1: more positive and more able, And when I got into
Speaker 1: the studio I found him to be like a helpless
Speaker 1: little boy or something. You didn't know what to do,
Speaker 1: and that just stifles creativity. When you just hang around
Speaker 1: and agony and frustration and stomp your food, you know,
Speaker 1: that doesn't bring out anything in anybody. Phil was drinking
Speaker 1: a lot by this point. He didn't used to drink
Speaker 1: at all, from what I've been told, But now he
Speaker 1: was hitting the man a chef. It's heart straight from
Speaker 1: a thermis into a plastic cup he'd sip from with
Speaker 1: a straw, like only a person who thinks he's refined,
Speaker 1: but he's really not good. And he brought in all
Speaker 1: these other session players to be on the record. He
Speaker 1: told the Ramans they were the spand in America. But
Speaker 1: then who wouldn't let them be the Ramones? They would
Speaker 1: be Phil's version of the Romans. Johnny nailed it when
Speaker 1: he said, working with Phil is very difficult. I guess
Speaker 1: he's a perfectionist. So we like to spend a lot
Speaker 1: of time redoing things and relistening, and it's very time consuming.
Speaker 1: I mean, rock and roll's gotta be spontaneous and done
Speaker 1: a little faster. It was hard for the rest of them.
Speaker 1: For the boys who weren't Joey. Bill had Joey saying
Speaker 1: Ronnie's Baby, I'd love you like the band was the
Speaker 1: second coming of the Runettes. And meanwhile the boys are
Speaker 1: twiddling their thumbs. Marky and Deedy hit the strip and
Speaker 1: search out its legendary seed nightlife they were like Ringo
Speaker 1: and George lost in a sea of boredom while Paul
Speaker 1: labored over Sergeant Pepper's I like beauty to be instant,
Speaker 1: you know, not to be labored over. And I don't
Speaker 1: like music to be a hustle. Johnny just about lost
Speaker 1: his mind when Phil spent something like twelve hours working
Speaker 1: on the opening chord to Rock and Roll High School,
Speaker 1: like an entire session. Man, No, he's just too difficult
Speaker 1: to work with them. It's too costly and time consuming.
Speaker 1: And in the nineteen eighties times have changed, and most
Speaker 1: producers from the mid sixties and haven't really grown with
Speaker 1: those changes. There's a new modern sound and he doesn't
Speaker 1: have it. Johnny took as much as he could reasonably take,
Speaker 1: hours and hours listening to one chord, making everything just right,
Speaker 1: just so. He finally stood up and walked for the door.
Speaker 1: And there's Phil with his gonzo thug threats, telling him
Speaker 1: what's going to happen if he walks out the door.
Speaker 1: Phil his Colt forty five snug in the holster against
Speaker 1: the side of his chest. Who the hell do you
Speaker 1: think you're talking to? And all that macho big shop posture,
Speaker 1: and Johnny just goes, what are you gonna do? Shoot me? Later,
Speaker 1: Johnny told me he spent twelve hours sitting there listening
Speaker 1: to that same chord over and over again. Nobody else
Speaker 1: could hear the difference. I mean, the chord ended up
Speaker 1: sounding okay, but twelve hours worth it really worth it.
Speaker 1: You know, you just go crazy. We'd be as crazy
Speaker 1: as him if we worked with him. But d D
Speaker 1: d D said it best as usual, just summed up
Speaker 1: the whole experience in the way that only d D can.
Speaker 1: You seemed like a man walk in his last mile
Speaker 1: doing our record. You know that grim He had been
Speaker 1: walking that walk for a long time. Let me tell
Speaker 1: you a long time. It was a long walk to
Speaker 1: make to go from such a genius and such a
Speaker 1: front runner and such an inventive producer to a man
Speaker 1: stuck in the accomplishments of his past, a man who
Speaker 1: wanted to be admired so bad he would literally hold
Speaker 1: admiration hostage in his own house. That's a long walk.
Speaker 1: I didn't want to walk beside him. I knew that
Speaker 1: from the night he brought us back to the mansion.
Speaker 1: Unlike the Ramons, the first time I stepped foot inside
Speaker 1: his place was the last time I'd ever see him.
Speaker 1: February four, New York City, After seven months, two dollars
Speaker 1: and more repeated takes of the same chord than anyone
Speaker 1: cared to remember, the Ramones released their fifth studio album,
Speaker 1: It Costs more than three times to make than the
Speaker 1: typical Ramons album. End of the Century, was produced by
Speaker 1: Phil Specter, who gave the band the same hollow promises
Speaker 1: he had given Leonard Cohen a few years before, the
Speaker 1: kind of promises that only a man with ego money
Speaker 1: in time to spare can make. This is gonna be
Speaker 1: a hit, This is gonna change your life. Of course,
Speaker 1: the record did neither for the Rammans. To Johnny Ramone,
Speaker 1: the whole prolonged chapter in their career was rife with redundancies, conflict,
Speaker 1: and acrimony. To Johnny, it was all Joey, Joey, Joey, Joey, Joey.
Speaker 1: He repeated the name over and over again every time
Speaker 1: his arm jackhammered eighth note down strokes onto his guitar. Joey, Joey, Joey, Joey, Joey.
Speaker 1: Johnny took all his frustration, all his disappointment, all his
Speaker 1: pain and put it into each whiplash riff. Joey Ramone
Speaker 1: had been Phil Specter's pet. Phil heard his past hits
Speaker 1: and Joey's voice the rest of them they could all
Speaker 1: go pound sand for all. Phil cared d and Marky
Speaker 1: didn't even know how the thing was ever finished, because
Speaker 1: they felt like they didn't even play on most of it.
Speaker 1: In the same month, the photo of Debbie Harry taken
Speaker 1: by mc rock grace the cover of Penthouse Magazine inner
Speaker 1: typically subversive style that ran opposite to the magazine's exploitative style.
Speaker 1: Debbie was fully clothed in black up to her neck. Soon,
Speaker 1: Blondie would head to l A and make their first
Speaker 1: album outside of New York, an album that would feature
Speaker 1: Rapture and The Tide Is High and give them the
Speaker 1: kind of fame and success that someone like Phil Specter
Speaker 1: would promise but as of late, failed to deliver. Johnny
Speaker 1: Ramone watched End of the Century climbed at number forty
Speaker 1: four in the US charts, where its stalled to add
Speaker 1: Insult to Injury, Though it was technically the band's highest
Speaker 1: peaking album on the charts. To Johnny's ears, it was
Speaker 1: the record that sounded the least like the band. It
Speaker 1: was watered down Ramon's Ramon's light, weak sauce. It wasn't
Speaker 1: punk rock at all. Nothing about it was punk. It
Speaker 1: was Phil Specter's version of the Ramones, just like Let
Speaker 1: It Be had been his version of the Beatles, and
Speaker 1: that hurt Johnny. But anyone's pain, anyone's suffering, would be
Speaker 1: nothing but a walk down a primrose path when the
Speaker 1: true pain hit ten months later. The pain that lay
Speaker 1: there waiting to grip the entire world didn't matter if
Speaker 1: you were Johnny Ramone or Debbie Harry. Didn't matter if
Speaker 1: you were Rodney on the Arrow que or Roy Carr
Speaker 1: or Dion. The pain gripped you. But it gripped Phil
Speaker 1: Specter harder than a gripped most. It found Phil Specter
Speaker 1: alone in his cold mansion on luck Collina Drive, found
Speaker 1: him vulnerable and unprepared. H This evening, John Lennon arrived
Speaker 1: the emergency room at Roosevelt Hospital. He was dead on
Speaker 1: at the time of his arrival. Numerous resuscitative efforts were
Speaker 1: made after his arrival at the hospital, including transfusions, surgical procedures,
Speaker 1: other procedures, but in spite of the effort of many physicians,
Speaker 1: and after many procedures, we were unable to restore the
Speaker 1: life of Mr Lenna. Phil was struck dumb. He felt destroyed,
Speaker 1: blown down to his core. He felt friendless, hitless, and
Speaker 1: now jauntless. He didn't know if he would be able
Speaker 1: to face the world without John. He walked slowly through
Speaker 1: the long halls and wide open rooms of the law
Speaker 1: Colina Mansion, slowly up the staircase, past the Steinway and
Speaker 1: the Picasso, past the French Empire furniture, past the Whoopee
Speaker 1: cushions and joke shop chattering teeth, past the Motley fusion
Speaker 1: of high and low art. Until he reached the bedroom.
Speaker 1: He thought of Tittenhurst Park, of Abbey Road of New York,
Speaker 1: and as he closed the door and locked himself in
Speaker 1: his bedroom, he thought about the games he had played
Speaker 1: over the years, the games that left tragedies in their wake,
Speaker 1: the games that left blood on the tracks. This episode
Speaker 1: of Blood on the Tracks is brought to you by
Speaker 1: twenty seven Club, a podcast that I host on musicians
Speaker 1: who died at the age of Season two, featuring Jim Morrison,
Speaker 1: is now available, as is season one, with twelve episodes.
Speaker 1: Featuring Jimmy Hendrix. Subscribe to the twenty seven Club on
Speaker 1: Apple podcast, I Heart Radio app or wherever you get
Speaker 1: you podcast, and of course, this episode was also brought
Speaker 1: to you by Disgrace Land, the award winning music and
Speaker 1: true crime podcast also hosted by Yours Truly. Episodes on
Speaker 1: The Rolling Stones, Jerry Lewis, Cardi b, The Grateful Dead,
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Speaker 1: for you right now. Just search Disgrace Land on Apple podcast,
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Speaker 1: All right. This episode of Blood on the Tracks was
Speaker 1: written by Zeth Lundi and scored in mixed by Matt Bode,
Speaker 1: Hosted by me Jake Brennan. Additional music and score elements
Speaker 1: by Ryan Spreaker and Henry Unette. This episode featured ruby
Speaker 1: rose boxes that we had. Blood on the Tracks is
Speaker 1: produced by myself for Double Elvis and partnership with I
Speaker 1: Heart Rate. Sources for this episode are available at double
Speaker 1: Elvis dot com on the Blood on the Tracks series page.
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Speaker 1: ahead and give that a fallow, all right. As always,
Speaker 1: you can find me blabbing about other crazy rock stars
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