1 00:00:04,640 --> 00:00:09,080 Speaker 1: Double Elvis. Blood on the Tracks is a production of 2 00:00:09,160 --> 00:00:13,319 Speaker 1: I Heart Radio and Double Elvis. Brian Wilson was a 3 00:00:13,400 --> 00:00:16,600 Speaker 1: musical genius and one of the greatest songwriters of all time. 4 00:00:17,040 --> 00:00:20,120 Speaker 1: He caught melodies like they were waves. He bottled good 5 00:00:20,239 --> 00:00:23,640 Speaker 1: vibrations like no one else, and he picked up bad 6 00:00:23,720 --> 00:00:28,360 Speaker 1: vibrations too. He broke down, he tripped hard. He didn't 7 00:00:28,400 --> 00:00:31,960 Speaker 1: just hear music, he heard voices. He tried to lose 8 00:00:32,000 --> 00:00:35,600 Speaker 1: those voices by making a teenage symphony to God called Smile. 9 00:00:36,240 --> 00:00:40,440 Speaker 1: But somewhere along the way, Brian Wilson lost his mind instead. 10 00:00:41,200 --> 00:00:49,640 Speaker 1: This is his story. Randa moss In here again working 11 00:00:49,640 --> 00:00:53,199 Speaker 1: through these archives of Brian Wilson tapes. It seems they're 12 00:00:53,240 --> 00:00:57,280 Speaker 1: never ending. There are so many here. The latest batch 13 00:00:57,360 --> 00:00:59,279 Speaker 1: I've been going through and compiling seemed to be from 14 00:00:59,320 --> 00:01:02,080 Speaker 1: Brian at home. There's no dates on these, but they 15 00:01:02,120 --> 00:01:06,360 Speaker 1: seem to be late sixties, perhaps early seventies. They all 16 00:01:06,400 --> 00:01:08,960 Speaker 1: appear to have been recorded on a dictaphone in Brian's house. 17 00:01:09,840 --> 00:01:12,679 Speaker 1: Some of them make more sense than others. There's some 18 00:01:12,720 --> 00:01:15,640 Speaker 1: tapes where he just talks about his family, Maly, his brothers. 19 00:01:16,680 --> 00:01:20,080 Speaker 1: Others are song ideas. I'm not sure these are in 20 00:01:20,160 --> 00:01:23,200 Speaker 1: any way usable for any type of official release, but 21 00:01:23,480 --> 00:01:25,920 Speaker 1: they give us an interesting insight to what he was 22 00:01:25,959 --> 00:01:35,960 Speaker 1: going through at the time. Two years ago, we were 23 00:01:36,000 --> 00:01:39,200 Speaker 1: recording one of the biggest singles of all time. Now 24 00:01:39,200 --> 00:01:44,680 Speaker 1: I'm here alone. I spend most days in the bathroom, 25 00:01:44,840 --> 00:01:48,400 Speaker 1: spend most nights looking at the TV. I don't know 26 00:01:48,400 --> 00:01:51,440 Speaker 1: what I'm supposed to do now, who am I supposed 27 00:01:51,480 --> 00:01:55,360 Speaker 1: to be? I'm having trouble being myself at the moment. 28 00:01:56,200 --> 00:01:59,400 Speaker 1: Some nights I dreams if I'm Me. Other nights I'm 29 00:01:59,480 --> 00:02:04,200 Speaker 1: Dennis or Carl, even my dad. Those ones are the scariest. 30 00:02:05,800 --> 00:02:07,840 Speaker 1: I keep thinking about what has happened over the last 31 00:02:07,920 --> 00:02:12,520 Speaker 1: few years, all those fights, all that money, all that 32 00:02:12,840 --> 00:02:53,600 Speaker 1: blood on the tracks. Chapter six, Brian Wilson isn't himself good? Evening? 33 00:02:54,080 --> 00:02:56,280 Speaker 1: This is one oh five point four b r I 34 00:02:56,480 --> 00:03:00,120 Speaker 1: A n f L. There's some interruptions to us were 35 00:03:00,360 --> 00:03:03,440 Speaker 1: to light, so please bear it with us. Service will 36 00:03:03,480 --> 00:03:08,440 Speaker 1: resume as soon as possible. Keep it, b R f L. 37 00:03:11,320 --> 00:03:13,520 Speaker 1: If you thought we were done with my dad, you 38 00:03:13,560 --> 00:03:17,040 Speaker 1: were wrong. Look I've been putting up with him for 39 00:03:17,080 --> 00:03:19,320 Speaker 1: all these years, so you can shoulder some of that 40 00:03:19,360 --> 00:03:25,520 Speaker 1: pain too. By the time we got to Smile felt 41 00:03:25,520 --> 00:03:30,080 Speaker 1: like a lifetime ago. Hell, even Smiley Smile, the album 42 00:03:30,120 --> 00:03:33,560 Speaker 1: we made after Smile failed, that felt like a lifetime 43 00:03:33,600 --> 00:03:36,560 Speaker 1: ago too. That was the time in my life when 44 00:03:36,560 --> 00:03:41,080 Speaker 1: the music took a back seat to everything else, usually 45 00:03:41,080 --> 00:03:45,200 Speaker 1: stuff like litigation. When you get big in the music industry, 46 00:03:45,680 --> 00:03:48,640 Speaker 1: there's success that comes with it in money too. But 47 00:03:48,720 --> 00:03:52,160 Speaker 1: with money comes money men and companies and contracts and 48 00:03:52,360 --> 00:03:57,320 Speaker 1: agreements and lawyers. I was home one day in bed. 49 00:03:58,080 --> 00:04:00,840 Speaker 1: I was in bed a lot those days. Sometimes I'd 50 00:04:00,880 --> 00:04:03,120 Speaker 1: sit with the TV on static and spend most nights 51 00:04:03,200 --> 00:04:07,640 Speaker 1: looking at the t V. I don't know why I 52 00:04:07,680 --> 00:04:11,240 Speaker 1: found it comfortable. I guess someone told me years later 53 00:04:11,280 --> 00:04:13,400 Speaker 1: that TV static is like the sound you hear in 54 00:04:13,400 --> 00:04:17,599 Speaker 1: the womb looking at the TV. Maybe that was it. 55 00:04:19,279 --> 00:04:21,960 Speaker 1: But I was home, just staring at the screen, alone 56 00:04:21,960 --> 00:04:24,800 Speaker 1: in my room, lost in that gray fuzz. When my 57 00:04:24,839 --> 00:04:28,800 Speaker 1: phone rang. It was our financial manager, Nick Grillo on 58 00:04:28,839 --> 00:04:32,200 Speaker 1: the other end. You've been examining our royalty statements from 59 00:04:32,240 --> 00:04:36,800 Speaker 1: Capital and had uncovered years of unpaid royalties. Have you 60 00:04:36,839 --> 00:04:39,160 Speaker 1: ever been paid as the band's producer, he asked me. 61 00:04:40,440 --> 00:04:44,240 Speaker 1: I don't know. Should I have been Brian. Nick said, 62 00:04:44,800 --> 00:04:48,000 Speaker 1: Capital owes you a lot. Tell me you signed the 63 00:04:48,000 --> 00:04:51,440 Speaker 1: contract yourself. Tell me it was you and not someone else. 64 00:04:53,080 --> 00:04:56,200 Speaker 1: I paused, I can never remember what I signed and 65 00:04:56,640 --> 00:05:01,599 Speaker 1: when it felt like I was always signing stuff. I 66 00:05:01,640 --> 00:05:03,880 Speaker 1: heard Nick flick through some papers and let out a 67 00:05:03,880 --> 00:05:09,120 Speaker 1: heavy sigh. You didn't, he said, finally, Murray did. I 68 00:05:09,160 --> 00:05:12,920 Speaker 1: don't know what I'm supposed to do now. I couldn't 69 00:05:13,000 --> 00:05:15,719 Speaker 1: understand why someone like my dad, who knew business well, 70 00:05:15,760 --> 00:05:19,279 Speaker 1: would let us be so underpaid. It turned out A 71 00:05:19,279 --> 00:05:22,719 Speaker 1: Capital owed me one point five million dollars one point 72 00:05:22,880 --> 00:05:26,880 Speaker 1: five one of the biggest singles of all time, and 73 00:05:26,960 --> 00:05:30,680 Speaker 1: that was for producing a loan. Nick also found out 74 00:05:30,720 --> 00:05:32,880 Speaker 1: that they had used money from the Beach Boy's royalty 75 00:05:32,880 --> 00:05:35,279 Speaker 1: account to pay for an album my dad made called 76 00:05:35,440 --> 00:05:40,200 Speaker 1: The Many Moods of Murray Wilson. Well, Murray Wilson was 77 00:05:40,200 --> 00:05:43,480 Speaker 1: about to experience just one fucking mood from his son. 78 00:05:44,839 --> 00:05:47,400 Speaker 1: I slammed the phone down without even saying goodbye to Nick, 79 00:05:47,440 --> 00:05:50,360 Speaker 1: and jumped in my car. I knew where my dad 80 00:05:50,520 --> 00:05:55,279 Speaker 1: was Sunset Sound Studios, the studio where we'd cut pet sounds. 81 00:05:56,160 --> 00:05:58,480 Speaker 1: He was working on a few new songs of his there. 82 00:05:59,279 --> 00:06:02,720 Speaker 1: We were probably hanging for those two. I burst into 83 00:06:02,760 --> 00:06:06,440 Speaker 1: the studio. He was sitting there at the piano. You liar, 84 00:06:06,800 --> 00:06:10,520 Speaker 1: I screamed. He couldn't have been expecting me, but he 85 00:06:10,560 --> 00:06:14,119 Speaker 1: didn't miss a beat. Why, Brian, what's wrong, he asked 86 00:06:14,200 --> 00:06:19,520 Speaker 1: me softly. All that money. I lost it with him again. 87 00:06:19,920 --> 00:06:22,000 Speaker 1: I keep thinking about what has happened over the last 88 00:06:22,000 --> 00:06:28,279 Speaker 1: few years. I was shouting, throwing stuff around. I called 89 00:06:28,360 --> 00:06:33,159 Speaker 1: him a coward with Charlotte and bad father. He barely 90 00:06:33,160 --> 00:06:37,640 Speaker 1: seemed to listen. He said he was sorry. Then he 91 00:06:37,680 --> 00:06:39,679 Speaker 1: turned back to the piano and played a couple of notes. 92 00:06:40,400 --> 00:06:43,680 Speaker 1: I just stood there and watched. He began to sing, 93 00:06:43,760 --> 00:06:46,760 Speaker 1: but it wasn't really to a melody. It was kind 94 00:06:46,760 --> 00:06:51,000 Speaker 1: of half spoken. You're not gonna like this, he sang, 95 00:06:51,480 --> 00:06:55,240 Speaker 1: but it's for your own good. Then he stopped and 96 00:06:55,240 --> 00:06:58,360 Speaker 1: turned around. I've sold the publishing rights for all the 97 00:06:58,400 --> 00:07:01,080 Speaker 1: Beach Boys songs, he said. I am the owner of 98 00:07:01,080 --> 00:07:03,160 Speaker 1: the company, and it was the right thing to do. 99 00:07:03,480 --> 00:07:10,000 Speaker 1: All that money. I was stunned. Why, I asked him. 100 00:07:10,000 --> 00:07:15,440 Speaker 1: My voice cracked because he replied. I jumped across the 101 00:07:15,480 --> 00:07:18,880 Speaker 1: piano and grabbed the front of his jacket. Why I 102 00:07:18,960 --> 00:07:24,120 Speaker 1: screamed all those fights. He rose up and pushed me off. 103 00:07:25,080 --> 00:07:28,400 Speaker 1: I did it, he yelled, because I was worried. You're 104 00:07:28,440 --> 00:07:33,760 Speaker 1: a spent force, a broken fucking record, literally a loser 105 00:07:34,120 --> 00:07:38,040 Speaker 1: who has lost it. That's why I was so scared. 106 00:07:38,280 --> 00:07:44,320 Speaker 1: All that blood. His face was red with anger. I 107 00:07:44,400 --> 00:07:46,960 Speaker 1: flashed back to being at home in Hawthorne and receiving 108 00:07:47,000 --> 00:07:51,320 Speaker 1: the belt. I felt so small again, like a child, 109 00:07:52,360 --> 00:07:55,520 Speaker 1: a coward in the corner, tears flowing from my eyes. 110 00:07:57,360 --> 00:08:00,880 Speaker 1: All I could get was seven thousand, he said, all triumphantly, 111 00:08:01,200 --> 00:08:06,120 Speaker 1: that money. But they were valued in the millions. I cried, 112 00:08:07,320 --> 00:08:11,600 Speaker 1: not anymore. He spat back. It would turn out that 113 00:08:11,720 --> 00:08:15,760 Speaker 1: we couldn't do anything about it. He was right, he 114 00:08:15,840 --> 00:08:18,880 Speaker 1: had control of the songs. I had signed that over 115 00:08:18,920 --> 00:08:22,760 Speaker 1: to him years before. In the end, Nick said the 116 00:08:22,760 --> 00:08:25,200 Speaker 1: money he'd got for the rights was at least half 117 00:08:25,200 --> 00:08:27,080 Speaker 1: of what we should have received. I don't know what 118 00:08:27,080 --> 00:08:31,720 Speaker 1: I'm supposed to do now. What happened with the money? 119 00:08:32,440 --> 00:08:35,839 Speaker 1: Dad kept it all as a quote unquote transaction fee, 120 00:08:36,200 --> 00:08:40,600 Speaker 1: all that money. On the way home from the studio 121 00:08:40,679 --> 00:08:44,320 Speaker 1: that day, I cried again. I heard California Girls play 122 00:08:44,320 --> 00:08:46,839 Speaker 1: on the car radio and After only the first couple 123 00:08:46,840 --> 00:08:50,160 Speaker 1: of bars, I pulled over. I kicked the radio over 124 00:08:50,240 --> 00:08:53,600 Speaker 1: and over until it stopped working. When I got home, 125 00:08:53,640 --> 00:08:55,959 Speaker 1: I took all my gold and platinum records off the wall. 126 00:08:56,880 --> 00:09:30,680 Speaker 1: They never went back up. One oh five point four 127 00:09:30,800 --> 00:09:33,880 Speaker 1: b R I A n F M is being taken 128 00:09:33,920 --> 00:09:37,320 Speaker 1: over for the next twenty four hours. It's time for 129 00:09:37,400 --> 00:09:42,360 Speaker 1: a new voice. This is Radio D E N N 130 00:09:42,400 --> 00:09:49,719 Speaker 1: I S and it's gonna be a long summer. I 131 00:09:49,840 --> 00:09:52,680 Speaker 1: can't go on like this. How long have I been 132 00:09:52,760 --> 00:09:56,920 Speaker 1: talking to you in here? It feels like forever. I 133 00:09:57,000 --> 00:10:00,600 Speaker 1: need a break. I need to tap out. I I 134 00:10:00,640 --> 00:10:05,920 Speaker 1: don't have any more stories to tell, all right? Hello? 135 00:10:07,679 --> 00:10:13,080 Speaker 1: Is this where he's been hiding his head? God, it's 136 00:10:13,200 --> 00:10:20,199 Speaker 1: huge in here, It's huge. My name is Dennis Wilson. 137 00:10:20,760 --> 00:10:25,360 Speaker 1: Brian's my brother. But you probably covered that, right, Cool. 138 00:10:27,120 --> 00:10:30,640 Speaker 1: Brian's got some stories to tell, I'm sure that. But 139 00:10:30,720 --> 00:10:34,960 Speaker 1: I have a story too. It comes around this time 140 00:10:35,000 --> 00:10:42,040 Speaker 1: as well. It involves drugs, orgies, and a serial killer. 141 00:10:43,400 --> 00:10:48,720 Speaker 1: This is my tale. It all started when I was 142 00:10:48,800 --> 00:10:52,840 Speaker 1: driving down the Sunset Strip. It was springtime. The air 143 00:10:52,920 --> 00:10:56,520 Speaker 1: was clear, the sun was bright. I had nothing to do, 144 00:10:57,200 --> 00:11:01,640 Speaker 1: nowhere to be. I was just driving some night dream 145 00:11:01,679 --> 00:11:06,000 Speaker 1: as if I could me. I was recently divorced, and 146 00:11:06,600 --> 00:11:08,400 Speaker 1: I guess I was looking to start living a new 147 00:11:08,440 --> 00:11:13,240 Speaker 1: type of life. Other nights, on Dentish, I saw these 148 00:11:13,280 --> 00:11:18,240 Speaker 1: two women, pitchhikers, you know. I stopped the car and 149 00:11:18,280 --> 00:11:23,560 Speaker 1: they jumped in. Patricia and Ella Joe, those were their names. 150 00:11:24,760 --> 00:11:27,040 Speaker 1: They were headed east, but when they realized that I 151 00:11:27,120 --> 00:11:31,520 Speaker 1: was a beach boy, we ended up back in my 152 00:11:31,640 --> 00:11:36,839 Speaker 1: house bora bilk and cookies. We talked about trains and 153 00:11:36,920 --> 00:11:42,120 Speaker 1: dental meditation, which was an interest we shared. They mentioned 154 00:11:42,120 --> 00:11:46,679 Speaker 1: a spiritual guru they knew the sky called Charlie. They 155 00:11:46,720 --> 00:11:49,200 Speaker 1: asked if I wanted to meet him, and yeah, of 156 00:11:49,240 --> 00:11:52,200 Speaker 1: course I did. I was really in all that stuff. 157 00:11:53,800 --> 00:11:55,600 Speaker 1: First I had to go down to the studio and 158 00:11:55,640 --> 00:11:58,240 Speaker 1: cut something or other, so I left the girls at 159 00:11:58,240 --> 00:12:02,120 Speaker 1: my house. That's how it was back then, like an 160 00:12:02,120 --> 00:12:05,440 Speaker 1: open house sort of deal. But when I came back 161 00:12:05,480 --> 00:12:10,040 Speaker 1: that night, I was more than a little confused. It 162 00:12:10,160 --> 00:12:13,120 Speaker 1: was so strange. There was a school bus parked in 163 00:12:13,160 --> 00:12:17,200 Speaker 1: my front yard. All its lights were on. It looked 164 00:12:17,200 --> 00:12:21,720 Speaker 1: like it had been abandoned. As I slowly walked around it, 165 00:12:22,040 --> 00:12:25,720 Speaker 1: a small man appeared. He looked like even sleeping on 166 00:12:25,760 --> 00:12:29,920 Speaker 1: the street. His hair was a Mess's eyes were wild. 167 00:12:30,880 --> 00:12:34,040 Speaker 1: They had a quality I'll never forget. They burned, you know. 168 00:12:35,520 --> 00:12:37,280 Speaker 1: I felt like when they were looking at you they 169 00:12:37,320 --> 00:12:41,679 Speaker 1: could see something else, something more than normal eyes. But 170 00:12:41,800 --> 00:12:46,360 Speaker 1: they were also broken in some way, haunted even they 171 00:12:46,400 --> 00:12:51,760 Speaker 1: scared me. Those onest I didn't know what to say 172 00:12:51,800 --> 00:12:54,560 Speaker 1: to him, so I just blurted out, are you here 173 00:12:54,559 --> 00:12:58,480 Speaker 1: to hurt me? He smiled, but his eyes stayed the same. 174 00:13:00,200 --> 00:13:04,000 Speaker 1: Does it look like I am, he asked. I didn't 175 00:13:04,000 --> 00:13:08,160 Speaker 1: know what to say. I felt like saying yes, Yes, 176 00:13:08,200 --> 00:13:12,520 Speaker 1: it fucking does. He dropped to the ground and started 177 00:13:12,600 --> 00:13:16,040 Speaker 1: kissing my feet. It was so odd. I don't know 178 00:13:16,080 --> 00:13:20,800 Speaker 1: what I'm supposed to do now. Patricia and Ella Joe 179 00:13:20,840 --> 00:13:25,600 Speaker 1: appeared at my door smiling. This is Charlie, laughed Ella Joe, 180 00:13:26,280 --> 00:13:33,040 Speaker 1: our guru. Charlie was unsettling, but alluring too. I found 181 00:13:33,120 --> 00:13:37,320 Speaker 1: him fascinating. That first night we got high and spoke 182 00:13:37,400 --> 00:13:41,600 Speaker 1: for hours. He told me he was both God and 183 00:13:41,800 --> 00:13:45,120 Speaker 1: the Devil. I kind of laughed at the time, but 184 00:13:46,240 --> 00:13:50,200 Speaker 1: looking back, that turned out to be true in one way. 185 00:13:51,960 --> 00:13:54,560 Speaker 1: Over the next couple of weeks, I saw more and 186 00:13:54,600 --> 00:13:56,960 Speaker 1: more of him, and more and more of the girls. 187 00:13:58,120 --> 00:14:02,000 Speaker 1: Except it wasn't just Patricia and Ella Joe. They were 188 00:14:02,000 --> 00:14:06,720 Speaker 1: more where they came from. He said, Charlie had a family, 189 00:14:08,080 --> 00:14:12,440 Speaker 1: That's what he called them. All women Paul, interested in 190 00:14:12,480 --> 00:14:17,000 Speaker 1: an alternative way of living, all interested in free love. 191 00:14:18,400 --> 00:14:21,320 Speaker 1: Charlie had such a hold over these women. They were 192 00:14:21,360 --> 00:14:25,080 Speaker 1: basically his servants. Every day they'd wake up and wait 193 00:14:25,120 --> 00:14:30,520 Speaker 1: for him. Dream He'd makes them put their hands in 194 00:14:30,560 --> 00:14:33,720 Speaker 1: the shape of various symbols and tell them they were 195 00:14:33,720 --> 00:14:39,280 Speaker 1: shaping the universe, that we were shaping the universe. One night, 196 00:14:39,280 --> 00:14:42,600 Speaker 1: we had a big party. I wanted to show Charlie 197 00:14:42,600 --> 00:14:46,160 Speaker 1: and the girls off to everyone. It was a hot night. 198 00:14:47,000 --> 00:14:52,640 Speaker 1: There was booze everywhere. Everyone was on acid. Charlie was 199 00:14:52,720 --> 00:14:55,240 Speaker 1: chatting with Neil Young and Mike Love over at the piano. 200 00:14:56,400 --> 00:14:59,880 Speaker 1: They were singing some song I didn't recognize. I think 201 00:15:00,040 --> 00:15:04,280 Speaker 1: Charlie wrote it. When I walked over to join them, 202 00:15:04,440 --> 00:15:08,520 Speaker 1: Neil beamed at me. This is Charlie, said, he's an 203 00:15:08,560 --> 00:15:13,880 Speaker 1: improv genius. Where did you find it? I laughed and 204 00:15:13,920 --> 00:15:17,600 Speaker 1: said I found him in my front yard. Charlie cut 205 00:15:17,600 --> 00:15:20,320 Speaker 1: in and said found me at the gates of hell. 206 00:15:21,440 --> 00:15:24,800 Speaker 1: We all laughed. He grabbed my hand and said it 207 00:15:24,880 --> 00:15:27,000 Speaker 1: was time. I don't know what I'm supposed to do now. 208 00:15:29,360 --> 00:15:31,760 Speaker 1: I didn't know what he meant, but he moved us 209 00:15:31,760 --> 00:15:34,760 Speaker 1: into the center of the lounge area and announced to 210 00:15:34,800 --> 00:15:38,440 Speaker 1: the room that it was the hour of love. He 211 00:15:38,520 --> 00:15:41,560 Speaker 1: clapped his hands and all of the women, all of 212 00:15:41,640 --> 00:15:45,680 Speaker 1: Charlie's followers, started to undress and keep thinking about what 213 00:15:45,760 --> 00:15:54,520 Speaker 1: has happened. Almost immediately, everyone was kissing, hugging, touching. Charlie 214 00:15:54,560 --> 00:15:58,160 Speaker 1: walked around the group and handed out more acid. He 215 00:15:58,280 --> 00:16:02,400 Speaker 1: walked up to Mike and offered him attack uh like decline, 216 00:16:02,800 --> 00:16:04,960 Speaker 1: and then came over to me as Patricia was trying 217 00:16:05,000 --> 00:16:09,240 Speaker 1: to take my shirt off. Can I take a shower? 218 00:16:09,280 --> 00:16:14,120 Speaker 1: He asked? A shower Mike. I laughed at him, I 219 00:16:14,160 --> 00:16:16,920 Speaker 1: think you might want to do that after, but he 220 00:16:16,960 --> 00:16:20,680 Speaker 1: cut me off. I'm not taking part in this, he said, 221 00:16:21,400 --> 00:16:24,360 Speaker 1: motioning to the origin in front of him. It's hot 222 00:16:24,360 --> 00:16:26,600 Speaker 1: and I'm sweating, and we have to get back to 223 00:16:26,600 --> 00:16:30,640 Speaker 1: the studio. I was being led into a forest of 224 00:16:30,720 --> 00:16:35,520 Speaker 1: limbs by Patricia, so what I said to him was sure, 225 00:16:36,280 --> 00:16:38,840 Speaker 1: but I couldn't concentrate. Who am I supposed to be. 226 00:16:41,320 --> 00:16:44,920 Speaker 1: I was worried about Mike. I was worried about letting 227 00:16:44,920 --> 00:16:49,640 Speaker 1: my band down. As you probably can tell, I had 228 00:16:49,640 --> 00:16:52,160 Speaker 1: no intention of going to that session. He was added due. 229 00:16:53,560 --> 00:16:56,840 Speaker 1: I wanted to apologize, or at least put out any 230 00:16:56,920 --> 00:17:00,640 Speaker 1: fires that might have been billowing. I'm sure Ryan's told 231 00:17:00,680 --> 00:17:05,520 Speaker 1: you Mike can lose his temper. I found him in 232 00:17:05,520 --> 00:17:14,359 Speaker 1: the bathroom. Your friend, Charlie, he said, real name, Charles Manson. God, 233 00:17:15,000 --> 00:17:18,800 Speaker 1: he sounded like he was some square TV detective. You 234 00:17:18,840 --> 00:17:22,320 Speaker 1: know he spent half his life in jail, right. I 235 00:17:22,440 --> 00:17:25,480 Speaker 1: rolled my eyes, but stopped halfway through because another voice 236 00:17:25,520 --> 00:17:33,000 Speaker 1: answered him, well, not quite half, but almost. Manson stood 237 00:17:33,000 --> 00:17:39,800 Speaker 1: at the door. He was completely naked and smiling. I'm 238 00:17:39,840 --> 00:17:43,879 Speaker 1: sorry you don't want to play, Mike. He said, I'm married. 239 00:17:44,520 --> 00:17:49,600 Speaker 1: Mike told him. Manson shrugged and then said love his love. 240 00:17:51,680 --> 00:17:54,080 Speaker 1: There was a silence, and I thought that might be it. 241 00:17:55,000 --> 00:17:59,720 Speaker 1: But Charlie seemed to change. There was a shift in him. 242 00:17:59,720 --> 00:18:03,720 Speaker 1: He grew incredibly intense. He looked at me with those 243 00:18:03,720 --> 00:18:11,679 Speaker 1: burning eyes. He walked towards Mike. He shouldn't leave the group, 244 00:18:12,359 --> 00:18:18,320 Speaker 1: he whispered in Mike's ear, No, you must not leave 245 00:18:18,440 --> 00:18:23,200 Speaker 1: the group. I got angry and told him he does 246 00:18:23,240 --> 00:18:26,760 Speaker 1: whatever the funk he likes. But as he went to 247 00:18:26,800 --> 00:18:30,480 Speaker 1: walk past, Charlie put his arm out and cornered him, 248 00:18:30,600 --> 00:18:35,040 Speaker 1: pushing his whole body on it. One no one leaves 249 00:18:35,119 --> 00:18:39,199 Speaker 1: the group, he whispered again. I didn't know what the 250 00:18:39,240 --> 00:18:42,200 Speaker 1: funk was about to happen, but I knew these two 251 00:18:42,200 --> 00:18:44,800 Speaker 1: would be like a couple of freight trains colliding if 252 00:18:44,800 --> 00:18:49,280 Speaker 1: it came to blows. Mike moved his head close to 253 00:18:49,359 --> 00:18:53,200 Speaker 1: Charlie's ear and nearly spat on him, saying, get your 254 00:18:53,240 --> 00:18:58,040 Speaker 1: dick off my fucking clothes. He shoved him aside and 255 00:18:58,080 --> 00:19:02,520 Speaker 1: strode out of the room. Charlie had his back to me, 256 00:19:03,200 --> 00:19:06,240 Speaker 1: but I caught his face in the mirror. His eyes 257 00:19:06,240 --> 00:19:09,000 Speaker 1: were burning so hard I thought he might shatter the 258 00:19:09,040 --> 00:19:14,960 Speaker 1: thing into pieces. Dream A few minutes later, we're back 259 00:19:15,000 --> 00:19:22,640 Speaker 1: downstairs other nights on Dennis. More guests had arrived. One 260 00:19:22,680 --> 00:19:24,640 Speaker 1: of them was someone Charlie had been dying to meet, 261 00:19:24,960 --> 00:19:30,600 Speaker 1: even my dad. I remember them shaking hands. I served 262 00:19:30,680 --> 00:19:37,240 Speaker 1: up introductions, Charlie, this is Columbia Records Best Producer Darry Melcher. 263 00:19:38,480 --> 00:19:41,520 Speaker 1: Charlie grinned as he took his hand. I'd love to 264 00:19:41,520 --> 00:19:46,479 Speaker 1: come audition for you, sir. Terry politely informed him he 265 00:19:46,520 --> 00:19:50,480 Speaker 1: only lived down the road. I didn't know it then, 266 00:19:50,520 --> 00:19:52,520 Speaker 1: but that meeting would be the start of one of 267 00:19:52,560 --> 00:19:55,959 Speaker 1: the most horrific and famous murders in the history of 268 00:19:56,000 --> 00:20:04,440 Speaker 1: this country. We'll be right back after this word. We were. 269 00:20:11,640 --> 00:20:15,480 Speaker 1: Charlie Manson stayed in my house for a while. That's 270 00:20:15,480 --> 00:20:18,439 Speaker 1: what it was like back then. You know. Of course, 271 00:20:19,359 --> 00:20:22,120 Speaker 1: if I knew what was going to happen, I would 272 00:20:22,119 --> 00:20:27,640 Speaker 1: have made him leave, called the police, done something anything. 273 00:20:29,320 --> 00:20:32,440 Speaker 1: In those days, Charlie wanted to be a rock star. 274 00:20:33,640 --> 00:20:36,920 Speaker 1: He was desperate to be one. That's why he came 275 00:20:37,000 --> 00:20:42,399 Speaker 1: here California. I mean, well, he was good at it, 276 00:20:43,359 --> 00:20:47,320 Speaker 1: to be honest. He wrote good songs. One from that 277 00:20:47,359 --> 00:20:53,359 Speaker 1: time was called Ceased to Exist when it was well fine, 278 00:20:54,440 --> 00:20:56,760 Speaker 1: hardly up to the standard of what Brian was writing, 279 00:20:57,520 --> 00:21:00,640 Speaker 1: or any of us for that matter, but it was good. 280 00:21:02,320 --> 00:21:04,840 Speaker 1: He wanted to record it, and then he wanted the 281 00:21:04,880 --> 00:21:09,040 Speaker 1: Beach Boys to record it, and so he did. At 282 00:21:09,080 --> 00:21:14,199 Speaker 1: the time, it was like why not. It ended up 283 00:21:14,200 --> 00:21:16,880 Speaker 1: being a B side to a song called Bluebirds over 284 00:21:16,880 --> 00:21:22,159 Speaker 1: the Mountain. It also appeared on the album. By the 285 00:21:22,200 --> 00:21:25,000 Speaker 1: time it made it onto our record though the song 286 00:21:25,040 --> 00:21:33,440 Speaker 1: had changed structurally musically. Lyrically it changed a lot. It's 287 00:21:33,560 --> 00:21:38,240 Speaker 1: name was changed, it became never Learned Not to Love. 288 00:21:40,160 --> 00:21:42,560 Speaker 1: When I first told Charlie we were going to record it, 289 00:21:42,680 --> 00:21:45,960 Speaker 1: he was ecstatic. He saw this as his first step 290 00:21:46,000 --> 00:21:49,720 Speaker 1: to becoming a rock star. When he actually heard the song, however, 291 00:21:50,560 --> 00:21:53,520 Speaker 1: it wasn't so happy. I keep thinking about what has happened. 292 00:21:55,119 --> 00:21:57,320 Speaker 1: That dude had been mixed and mastered and sent to 293 00:21:57,359 --> 00:22:01,680 Speaker 1: my house on tape. When it rived, I left it 294 00:22:01,720 --> 00:22:05,159 Speaker 1: out for Charlie to listen to. I left to record 295 00:22:05,200 --> 00:22:09,200 Speaker 1: more songs for down at the studio. When I came 296 00:22:09,240 --> 00:22:13,879 Speaker 1: back home, I could tell something was wrong. I walked 297 00:22:13,880 --> 00:22:17,040 Speaker 1: in the front door, and rather than being greeted by 298 00:22:17,040 --> 00:22:21,240 Speaker 1: the carnival of Charlie's family, the whole place was quiet, 299 00:22:22,040 --> 00:22:26,320 Speaker 1: silent even. I walked into the living room and Charlie 300 00:22:26,359 --> 00:22:29,199 Speaker 1: was sitting there all on his own, his elbows on 301 00:22:29,240 --> 00:22:32,280 Speaker 1: his knees, leaning forward on the couch with his head 302 00:22:32,320 --> 00:22:38,199 Speaker 1: on his thumbs, looking pensive. Where the girls, I asked, 303 00:22:39,920 --> 00:22:45,560 Speaker 1: They're upstairs, having a moment of silence, he said, a 304 00:22:45,680 --> 00:22:51,359 Speaker 1: moment of silence. I asked, yes. He said his words 305 00:22:51,359 --> 00:22:56,240 Speaker 1: were ice cold. I'm having trouble being myself. I heard 306 00:22:56,280 --> 00:23:01,639 Speaker 1: someone move upstairs. Charlie jumped up and out of silence. 307 00:23:02,840 --> 00:23:05,520 Speaker 1: Then he marched up to me and brought his face 308 00:23:05,720 --> 00:23:10,800 Speaker 1: right up to mine. Our lips are practically touching. You 309 00:23:11,040 --> 00:23:16,040 Speaker 1: changed the song, he whispered, just like he had done 310 00:23:16,080 --> 00:23:19,679 Speaker 1: with Mike in the bathroom at the party. Just some 311 00:23:19,760 --> 00:23:25,800 Speaker 1: of the structure. I said, I don't care about structure. 312 00:23:26,840 --> 00:23:31,800 Speaker 1: He told me, you change my words. My words are 313 00:23:31,840 --> 00:23:36,120 Speaker 1: all I have. Don't you see? I thought he might 314 00:23:36,200 --> 00:23:39,240 Speaker 1: cry or I don't know I have a stroke. He 315 00:23:39,359 --> 00:23:44,240 Speaker 1: was speaking so intensely. I'm having trouble. I need to 316 00:23:44,240 --> 00:23:48,880 Speaker 1: show Terry Melcher that I'm a musical genius. How can 317 00:23:48,920 --> 00:23:53,720 Speaker 1: I do that? When you changed the song? I explained 318 00:23:53,720 --> 00:23:57,600 Speaker 1: that Terry the Columbia producer, Charlie had become obsessed with 319 00:23:58,400 --> 00:24:02,040 Speaker 1: I wouldn't care about a beach boy song. I told 320 00:24:02,119 --> 00:24:05,480 Speaker 1: him we could record something new, but that only made 321 00:24:05,480 --> 00:24:08,359 Speaker 1: it worse. He stormed over to the couch, where he 322 00:24:08,400 --> 00:24:11,520 Speaker 1: picked up a white envelope and thrust it under my nose. 323 00:24:12,560 --> 00:24:17,679 Speaker 1: Open it, he cried. Patricia appeared at the top of 324 00:24:17,680 --> 00:24:22,080 Speaker 1: the stairs and asked if Charlie was okay. Charlie screamed 325 00:24:22,080 --> 00:24:25,800 Speaker 1: at her to shut up. He was read now. His 326 00:24:25,840 --> 00:24:32,080 Speaker 1: face was haunted, his eyes just burning. The envelope was 327 00:24:32,119 --> 00:24:38,159 Speaker 1: almost empty except for one thing, something fairly heavy. I 328 00:24:38,240 --> 00:24:42,520 Speaker 1: opened it and straight away saw the pointed gold tip 329 00:24:42,760 --> 00:24:46,679 Speaker 1: of a bullet. What is this supposed to mean? I 330 00:24:46,800 --> 00:24:51,960 Speaker 1: asked this, he said, grabbing the bullet, holding it above 331 00:24:52,000 --> 00:24:56,359 Speaker 1: his head. This is for your fucking kids, if you 332 00:24:56,480 --> 00:25:02,919 Speaker 1: ever fucked me over again. He walked around the room, 333 00:25:02,960 --> 00:25:06,760 Speaker 1: holding it above him as he spoke. I could hardly 334 00:25:06,800 --> 00:25:11,280 Speaker 1: believe it. Charles Manson threatening my own children in my 335 00:25:11,400 --> 00:25:15,800 Speaker 1: own house, the house he'd been staying in rent free. 336 00:25:17,280 --> 00:25:20,320 Speaker 1: In fact, everything was free. Come to think of it, 337 00:25:21,359 --> 00:25:23,600 Speaker 1: we had already spent a thousand dollars alone on the 338 00:25:23,640 --> 00:25:27,600 Speaker 1: shots for the gnarrhea that swept through the place. I 339 00:25:27,640 --> 00:25:31,320 Speaker 1: couldn't hold my anger back. No one threatened my family 340 00:25:31,400 --> 00:25:34,159 Speaker 1: like that. I jumped at him and tackled him to 341 00:25:34,240 --> 00:25:38,320 Speaker 1: the floor. I heard his arm crack onto the coffee 342 00:25:38,359 --> 00:25:41,560 Speaker 1: table as he fell, but I didn't care. I sat 343 00:25:41,600 --> 00:25:43,680 Speaker 1: on top of him and grabbed that arm and bend 344 00:25:43,720 --> 00:25:46,840 Speaker 1: it back as hard as I could. I wanted him 345 00:25:46,880 --> 00:25:51,560 Speaker 1: to feel maximum pain. He dropped the bullet and I 346 00:25:51,600 --> 00:25:53,480 Speaker 1: tried to get a punch in, but he blocked me. 347 00:25:54,760 --> 00:25:57,040 Speaker 1: Patricia ran over and tried to pull me off, and 348 00:25:58,560 --> 00:26:00,760 Speaker 1: I pushed her back, and she and up on the floor, 349 00:26:00,880 --> 00:26:05,440 Speaker 1: crying for Charlie. While I was distracted, he managed to 350 00:26:05,480 --> 00:26:08,119 Speaker 1: get free from under me, and I saw him grab 351 00:26:08,200 --> 00:26:11,320 Speaker 1: for the bullet. I looked at his other hand, fearing 352 00:26:11,320 --> 00:26:15,879 Speaker 1: he'd have a gun. Nothing, thank god. Without warning, he 353 00:26:16,000 --> 00:26:18,520 Speaker 1: dove on top of me, flattening me to the floor. 354 00:26:19,440 --> 00:26:23,439 Speaker 1: His breath was hot and wet in my face. He 355 00:26:23,520 --> 00:26:26,160 Speaker 1: held the bullet to my temple, pushing it hard into 356 00:26:26,160 --> 00:26:34,560 Speaker 1: the skin. Don't fuck me over, he screamed, don't, don't, don't. 357 00:26:35,520 --> 00:26:38,960 Speaker 1: He pushed the bullet in harder and harder. I could 358 00:26:39,000 --> 00:26:43,760 Speaker 1: feel the skin breaking. I didn't say anything. I was 359 00:26:43,840 --> 00:26:48,280 Speaker 1: lost in those eyes, those burning, tired eyes, those ones 360 00:26:48,440 --> 00:26:53,200 Speaker 1: the scariest. My free hand was frantically skating around the carpet, 361 00:26:53,240 --> 00:26:57,720 Speaker 1: looking for something, anything to get me free, and I 362 00:26:57,760 --> 00:27:02,560 Speaker 1: felt it. The tape, the tapes. Have never learned not 363 00:27:02,720 --> 00:27:06,320 Speaker 1: to love what I was supposed to do now. They 364 00:27:06,359 --> 00:27:08,760 Speaker 1: came in a pretty weighty box, and it was bulky. 365 00:27:10,240 --> 00:27:14,200 Speaker 1: It spanned the full reach of my fingers. I grabbed 366 00:27:14,200 --> 00:27:16,080 Speaker 1: it and drove it in the back of Charlie's head. 367 00:27:16,840 --> 00:27:18,840 Speaker 1: His eyes seemed to grow huge when I did that, 368 00:27:18,880 --> 00:27:21,159 Speaker 1: but I didn't care. He fell to the side and 369 00:27:21,200 --> 00:27:24,520 Speaker 1: I was free. Who am I supposed to be? I 370 00:27:24,600 --> 00:27:26,480 Speaker 1: left on top of him and punched him right in 371 00:27:26,520 --> 00:27:29,080 Speaker 1: the face, right in the same place that years later, 372 00:27:29,080 --> 00:27:33,719 Speaker 1: with sport a swastika tattoo. Patricia yelped in pain as 373 00:27:33,720 --> 00:27:40,359 Speaker 1: if she had been hit. Charlie was unconscious. That was 374 00:27:40,400 --> 00:27:43,800 Speaker 1: the last time I saw him face to face. A 375 00:27:43,840 --> 00:27:47,480 Speaker 1: few months after that, Charlie instructed his family to go 376 00:27:47,560 --> 00:27:51,880 Speaker 1: to ten thousand fifty Cello Drive and kill everyone there. 377 00:27:53,080 --> 00:28:01,720 Speaker 1: Abigail Forrester, volcheck Rakowski, Stephen parents, J C. Bring, Sharon Tate, 378 00:28:02,960 --> 00:28:10,359 Speaker 1: and Sharon's unborn child. They all died that night. Why 379 00:28:10,560 --> 00:28:14,720 Speaker 1: ten c l O Drive, you might ask, because that's 380 00:28:14,720 --> 00:28:17,760 Speaker 1: where Terry Meltrie used to live around the time I 381 00:28:17,840 --> 00:28:21,680 Speaker 1: introduced Charlie to him at that party. He never did 382 00:28:21,720 --> 00:28:26,240 Speaker 1: get that audition. It's hard to get over something like that. 383 00:28:27,359 --> 00:28:32,280 Speaker 1: In fact, it's impossible. I think of those six people 384 00:28:32,320 --> 00:28:38,160 Speaker 1: all the time. How can I not some days when 385 00:28:38,200 --> 00:28:40,600 Speaker 1: I go surfing early in the morning, after I've been 386 00:28:40,680 --> 00:28:45,200 Speaker 1: up all night. I turned in the morning sun rising 387 00:28:45,240 --> 00:28:48,760 Speaker 1: over the ocean, and I pray that their souls are 388 00:28:48,800 --> 00:29:21,160 Speaker 1: at peace. It's been two days since journalist Tom Nolan 389 00:29:21,240 --> 00:29:24,880 Speaker 1: got the tip, two whole days. Once again, he walks 390 00:29:24,880 --> 00:29:27,600 Speaker 1: to the corner of Fairfax Avenue in West third Street, 391 00:29:27,960 --> 00:29:31,240 Speaker 1: up to the shops front door, and he knocks. Nothing. 392 00:29:31,760 --> 00:29:36,800 Speaker 1: No one's inside. The lights are all off. Silence. Nolan 393 00:29:36,880 --> 00:29:38,960 Speaker 1: turns around and makes his way back to where he 394 00:29:39,000 --> 00:29:42,560 Speaker 1: came from. He sticks his small reporter's notepad back into 395 00:29:42,640 --> 00:29:46,120 Speaker 1: his pants pocket. He walks the streets of West Hollywood 396 00:29:46,160 --> 00:29:49,040 Speaker 1: for a while, and the city is winding down. The 397 00:29:49,080 --> 00:29:51,720 Speaker 1: glow of the day is gone. Another l a night 398 00:29:51,800 --> 00:29:55,120 Speaker 1: is starting to unfold, and there's a sense that anything 399 00:29:55,200 --> 00:29:57,920 Speaker 1: can happen. In that sense is the only thing that 400 00:29:57,960 --> 00:30:00,240 Speaker 1: prevents him from hailing a cab and call all in 401 00:30:00,280 --> 00:30:03,640 Speaker 1: a night. Instead, he walks a few more blocks to 402 00:30:03,680 --> 00:30:07,040 Speaker 1: the Melvin Theater. Written in large letters on the theater's 403 00:30:07,080 --> 00:30:13,200 Speaker 1: marquee is the word scammen shame, Nolan translates out loud. 404 00:30:13,640 --> 00:30:15,720 Speaker 1: He plunks down his money and spends the next one 405 00:30:16,120 --> 00:30:18,720 Speaker 1: and three minutes lost in a surreal world of horror, 406 00:30:19,000 --> 00:30:23,840 Speaker 1: courtesy of the master Swedish filmmaker Igmara Bergmann. When the 407 00:30:23,840 --> 00:30:27,920 Speaker 1: film ends, it's almost midnight, Nolan is emotionally shook up 408 00:30:28,240 --> 00:30:30,480 Speaker 1: and the streets feel different than they did earlier. That 409 00:30:30,600 --> 00:30:35,440 Speaker 1: evening postile unsafe, He walks quickly once again, heading for 410 00:30:35,480 --> 00:30:38,120 Speaker 1: Fairfax and Third, trying to cast the images of the 411 00:30:38,120 --> 00:30:40,600 Speaker 1: film he's just seen out of his mind, and as 412 00:30:40,640 --> 00:30:44,200 Speaker 1: he approaches the corner, his heart skips. He sees the 413 00:30:44,280 --> 00:30:47,280 Speaker 1: lights on in the shop. He's never seen the mom before. 414 00:30:47,800 --> 00:30:50,720 Speaker 1: He looks closer and the door is open too. He's 415 00:30:50,760 --> 00:30:53,960 Speaker 1: definitely never seen the door open. As he stands now 416 00:30:54,040 --> 00:30:56,040 Speaker 1: on the other side of the street, he watches a 417 00:30:56,120 --> 00:30:59,240 Speaker 1: man inside the shop walk past the open door. He's 418 00:30:59,280 --> 00:31:01,920 Speaker 1: barely visible, there's so little light, but he can just 419 00:31:01,960 --> 00:31:05,840 Speaker 1: see it. Tim He thinks, funk, it's actually him. It's 420 00:31:05,840 --> 00:31:09,240 Speaker 1: actually true. Seconds later, no one is bounding over the 421 00:31:09,280 --> 00:31:13,160 Speaker 1: crosswalk and practically jumping up the curb. He stops outside 422 00:31:13,200 --> 00:31:15,800 Speaker 1: and looks up at the large sign, an elongated red 423 00:31:15,920 --> 00:31:18,680 Speaker 1: radish with green leaves shooting out the top in the 424 00:31:18,720 --> 00:31:22,680 Speaker 1: center in a faded white tight are the words radiant, radish. 425 00:31:23,000 --> 00:31:27,920 Speaker 1: Nolan takes a beat and then walks inside. After only 426 00:31:27,960 --> 00:31:30,280 Speaker 1: one step, it feels like he's back in that movie theater. 427 00:31:30,600 --> 00:31:34,040 Speaker 1: It's dark inside, really dark, unlike any shop he's ever 428 00:31:34,080 --> 00:31:36,680 Speaker 1: been in. He looks up and sees all the ceiling 429 00:31:36,760 --> 00:31:39,080 Speaker 1: lights have been shut off and the only light is 430 00:31:39,080 --> 00:31:43,440 Speaker 1: a ghostly fluorescent glow emanating from the food pins. Nolan 431 00:31:43,560 --> 00:31:46,040 Speaker 1: takes a deep breath and through his nose and he 432 00:31:46,080 --> 00:31:50,120 Speaker 1: can smell vegetables, dirt, slight tang of mildew, and something else, 433 00:31:50,720 --> 00:31:54,240 Speaker 1: something he recognizes but couldn't put his finger on. Tills 434 00:31:54,760 --> 00:31:57,680 Speaker 1: that was it. He can smell that stale air that 435 00:31:57,680 --> 00:32:01,480 Speaker 1: seems to almost exclusively exist in urged jars of pills. 436 00:32:02,560 --> 00:32:05,080 Speaker 1: Nolan spins around and sees the front wall the place 437 00:32:05,120 --> 00:32:08,160 Speaker 1: adorned with a jar upon jar of pills. A small 438 00:32:08,240 --> 00:32:10,480 Speaker 1: ladder leads up to the ceiling and the places like 439 00:32:10,520 --> 00:32:13,840 Speaker 1: a Victorian pharmacy. He lowers his eyes to the counter 440 00:32:13,880 --> 00:32:15,480 Speaker 1: in front of the wall, where he sees a large 441 00:32:15,520 --> 00:32:18,480 Speaker 1: open jar, a stick of celery, and amount of what 442 00:32:18,600 --> 00:32:22,560 Speaker 1: looks like salt. Finally, his eyes come to rest on 443 00:32:22,640 --> 00:32:25,280 Speaker 1: the only other person in the shop, Nolan looks at 444 00:32:25,320 --> 00:32:28,280 Speaker 1: him properly for the first time, and the man's head 445 00:32:28,360 --> 00:32:31,120 Speaker 1: is bowed down, fumbling with something in his hands. His 446 00:32:31,240 --> 00:32:34,840 Speaker 1: long hair dangles there. He's wearing a bathrobe. It's striped, 447 00:32:35,120 --> 00:32:39,920 Speaker 1: loose pajamazon underneath, but Nolan keeps staring, and finally the 448 00:32:39,960 --> 00:32:43,640 Speaker 1: man looks up. Can I help you with anything? He asks? 449 00:32:43,640 --> 00:32:48,200 Speaker 1: Nolan stutters, you're You're Brian Wilson. The man in the 450 00:32:48,200 --> 00:32:52,440 Speaker 1: bathroom nods slowly Tom Nolan, Nolan says, extending his hand 451 00:32:52,600 --> 00:32:57,320 Speaker 1: from Rolling Stone magazine. Brian doesn't offer his own hand. Instead, 452 00:32:57,320 --> 00:33:00,000 Speaker 1: he explains that he's not doing interviews, but he can 453 00:33:00,040 --> 00:33:03,400 Speaker 1: serve Mr Nolan if he needs anything. B twelve, says 454 00:33:03,400 --> 00:33:06,760 Speaker 1: the journalist. Brian runs his hands over the jars behind 455 00:33:06,880 --> 00:33:09,520 Speaker 1: him as Nolan watches, unable to take his eyes off 456 00:33:09,600 --> 00:33:11,840 Speaker 1: one of the greatest living pop stars just standing there 457 00:33:11,840 --> 00:33:15,200 Speaker 1: in a bathrobe. All he can think is three years ago, 458 00:33:15,600 --> 00:33:19,280 Speaker 1: Brian Wilson changed the world with good vibrations, and now 459 00:33:19,320 --> 00:33:24,560 Speaker 1: he's working here. No one heard the rumors he got 460 00:33:24,560 --> 00:33:26,680 Speaker 1: the tip, and that's why he kept coming back to 461 00:33:26,720 --> 00:33:28,920 Speaker 1: see it with his own two eyes. But he never 462 00:33:28,960 --> 00:33:32,640 Speaker 1: imagined it would actually be true, I came yesterday and 463 00:33:32,680 --> 00:33:36,640 Speaker 1: earlier tonight. No one says, but you were closed. We 464 00:33:36,720 --> 00:33:39,560 Speaker 1: opened one I want, Brian replies, grabbing a couple of 465 00:33:39,600 --> 00:33:42,440 Speaker 1: tablets from a jar that definitely isn't B twelve. He 466 00:33:42,520 --> 00:33:44,360 Speaker 1: tosses him up in the air and catches both in 467 00:33:44,440 --> 00:33:47,640 Speaker 1: his mouth, and then he swallows hard. He pulls a 468 00:33:47,680 --> 00:33:49,880 Speaker 1: small bottle off the shelf and puts it on the counter. 469 00:33:50,320 --> 00:33:53,280 Speaker 1: He looks at Nolan. You get a call a call? 470 00:33:53,400 --> 00:33:56,640 Speaker 1: No one asked a call from your doctor. Brian says, well, 471 00:33:56,720 --> 00:34:00,840 Speaker 1: now unless there's a call, well we can't. Brian shrugs. 472 00:34:01,160 --> 00:34:04,720 Speaker 1: No one thinks it's a joke, but Brian stare indicates otherwise. 473 00:34:05,560 --> 00:34:08,080 Speaker 1: No one makes his excuses, and after an awkward silence, 474 00:34:08,120 --> 00:34:10,560 Speaker 1: decides to leave the store, trying to work out if 475 00:34:10,600 --> 00:34:14,000 Speaker 1: after watching scom and he slipped into some strange alternate reality. 476 00:34:15,120 --> 00:34:17,600 Speaker 1: His exit is interrupted by Brian, who says, I used 477 00:34:17,640 --> 00:34:20,799 Speaker 1: to be Mr. Everything you know, jumping on jets one 478 00:34:20,840 --> 00:34:24,520 Speaker 1: city to another, producing, writing, arranging, singing, planning, teaching, and 479 00:34:24,560 --> 00:34:26,160 Speaker 1: to the point where I had no peace of mind 480 00:34:26,200 --> 00:34:28,680 Speaker 1: and no chance to actually sit down and think or 481 00:34:28,719 --> 00:34:31,600 Speaker 1: even rest. So that's why I'm in this, and he 482 00:34:31,719 --> 00:34:36,840 Speaker 1: motions to the bathrobe. Nolan smiles. This, Brian says, pointing 483 00:34:36,840 --> 00:34:39,840 Speaker 1: to the store, this is for me, for me alone. 484 00:34:40,239 --> 00:34:42,760 Speaker 1: They called me a genius, but I'm not a genius. 485 00:34:43,160 --> 00:34:46,160 Speaker 1: I'm just a hard working guy. No one doesn't know 486 00:34:46,239 --> 00:34:48,440 Speaker 1: quite what to say. He just leaves his card on 487 00:34:48,480 --> 00:34:50,120 Speaker 1: the counter and tells Brian to give him a call 488 00:34:50,160 --> 00:34:51,960 Speaker 1: the next time he wants to talk about his career. 489 00:34:52,520 --> 00:34:54,319 Speaker 1: And then he steps out into the l a night, 490 00:34:54,400 --> 00:34:58,000 Speaker 1: and once again Brian Wilson is alone when no one 491 00:34:58,040 --> 00:35:00,880 Speaker 1: gets home that night. He listens to his battered copy 492 00:35:00,920 --> 00:35:04,480 Speaker 1: of Good Vibrations, but it doesn't sound the same. All 493 00:35:04,480 --> 00:35:06,720 Speaker 1: he can think about is that man he saw earlier 494 00:35:06,760 --> 00:35:09,200 Speaker 1: in that bathroom. You can't get the image out of 495 00:35:09,239 --> 00:35:12,080 Speaker 1: his head. And now the song playing on a stereo 496 00:35:12,200 --> 00:35:14,600 Speaker 1: seems to have lost some of its joy, And the 497 00:35:14,680 --> 00:35:17,920 Speaker 1: more he listens more the joy is slowly torn from 498 00:35:17,960 --> 00:35:22,680 Speaker 1: the song, leaving behind so much Blood on the Tracks. 499 00:35:37,560 --> 00:35:40,000 Speaker 1: Blood on the Tracks is produced by Double Elvis in 500 00:35:40,080 --> 00:35:44,080 Speaker 1: partnership with I Heart Radio. It's hosted an executive produced 501 00:35:44,120 --> 00:35:47,759 Speaker 1: by me Jake Brennan, also executive produced by Brady sat 502 00:35:48,400 --> 00:35:51,640 Speaker 1: Zeth Lundy is lead editor and producer. This episode was 503 00:35:51,680 --> 00:35:55,440 Speaker 1: written by Ben Burrow, mixing and sound designed by Colin Fleming. 504 00:35:55,800 --> 00:35:59,640 Speaker 1: Additional music and score elements by Ryan Spraaker. This season 505 00:35:59,680 --> 00:36:03,160 Speaker 1: feature Chris Anzeloni is the voice of Brian Wilson. This 506 00:36:03,200 --> 00:36:06,640 Speaker 1: episode featured Spencer Grow as the voice of Dennis Wilson. 507 00:36:07,000 --> 00:36:10,000 Speaker 1: Sources for this episode are available at double elvis dot 508 00:36:10,040 --> 00:36:12,720 Speaker 1: com on the Blood on the Tracks series page, follow 509 00:36:12,800 --> 00:36:16,000 Speaker 1: Double Elvis on Instagram at double Elvis and on Twitch 510 00:36:16,120 --> 00:36:18,640 Speaker 1: at s Graceland Talks, and you can talk to me 511 00:36:18,800 --> 00:36:22,160 Speaker 1: per Usual on Instagram and Twitter at disgrace Land Pod, 512 00:36:22,800 --> 00:36:39,160 Speaker 1: rock and Roll, or Dead