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 --> 00:00:06,800 Speaker 1: Radio and Double Elvis. Bob Dylan was a musical genius 3 00:00:06,840 --> 00:00:09,680 Speaker 1: and one of the greatest songwriters of all time. He 4 00:00:09,760 --> 00:00:13,920 Speaker 1: didn't follow leaders. He chased that thin, wild mercury sound. 5 00:00:14,480 --> 00:00:17,520 Speaker 1: He never looked back. Even as the times changed, and 6 00:00:17,600 --> 00:00:21,680 Speaker 1: as the times changed, Bob Dylan changed. He tried on 7 00:00:21,800 --> 00:00:25,960 Speaker 1: and discarded identities like they were mass. He transformed. He 8 00:00:26,000 --> 00:00:30,120 Speaker 1: transfigured in somewhere along the way, the Bob Dylan that 9 00:00:30,160 --> 00:00:40,360 Speaker 1: you thought you knew died. This is his story. This 10 00:00:40,479 --> 00:00:45,519 Speaker 1: is Dr Ed Sailor. It's August four, day number seven, 11 00:00:45,560 --> 00:00:48,400 Speaker 1: with the patient Robert Zimmerman, a k a. Bob Dylan 12 00:00:48,880 --> 00:00:54,040 Speaker 1: here at my home in Middletown, New York. Bob is 13 00:00:54,080 --> 00:00:57,600 Speaker 1: still depressed. This accident seems to have taken its toll 14 00:00:57,640 --> 00:01:01,639 Speaker 1: on him mentally more than physically. This time out from 15 00:01:01,680 --> 00:01:04,000 Speaker 1: what was a hectic lifestyle appears to have brought on 16 00:01:04,120 --> 00:01:07,160 Speaker 1: some kind of reflection for him. I often catch him 17 00:01:07,160 --> 00:01:09,920 Speaker 1: looking dazed. When I asked what he's thinking about, he 18 00:01:10,000 --> 00:01:13,160 Speaker 1: just says the lives I've lived. When he's sleeping, I 19 00:01:13,240 --> 00:01:16,720 Speaker 1: often hear him shouting or babbling about his future. Right now. 20 00:01:16,760 --> 00:01:19,400 Speaker 1: I say he is showing signs of a delusional disorder, 21 00:01:19,480 --> 00:01:29,400 Speaker 1: and to be honest, I'm worried about his recovery. I 22 00:01:29,480 --> 00:01:31,800 Speaker 1: was having a difficult time in my life. By the 23 00:01:31,920 --> 00:01:35,080 Speaker 1: end of the nineteen eighties. I did some things I 24 00:01:35,120 --> 00:01:42,280 Speaker 1: wasn't proud of, personally and professionally, although I must say 25 00:01:42,319 --> 00:01:45,120 Speaker 1: it wasn't all that bad a decade. It might have 26 00:01:45,160 --> 00:01:48,160 Speaker 1: been my most interesting if you look closely. Not that 27 00:01:48,240 --> 00:01:51,920 Speaker 1: the public can never get past the sixties, but the 28 00:01:52,000 --> 00:01:55,800 Speaker 1: end of the eighties, though, I was a mess. I 29 00:01:55,960 --> 00:01:58,400 Speaker 1: changed so many times that I just assumed it would 30 00:01:58,480 --> 00:02:02,320 Speaker 1: keep happening. I didn't realize you can't force yourself to change, 31 00:02:03,040 --> 00:02:06,680 Speaker 1: it has to happen naturally. That made me feel lost. 32 00:02:08,040 --> 00:02:10,400 Speaker 1: I've always found when you're down, you think you can't 33 00:02:10,400 --> 00:02:14,280 Speaker 1: get any lower, You're wrong. You can always go lower. 34 00:02:15,360 --> 00:02:18,760 Speaker 1: There's always a bottom after the bottom, a new level down, 35 00:02:19,600 --> 00:02:26,640 Speaker 1: new desperation, renewed despair, renewed anger, fresh trouble, fresh disappointment, 36 00:02:26,720 --> 00:02:52,160 Speaker 1: and of course fresh blood. On the tracks. Chapter seven, 37 00:02:53,639 --> 00:03:10,040 Speaker 1: Bob Dylan is a dead man. M It was nighttime 38 00:03:10,080 --> 00:03:12,600 Speaker 1: in the big city. The street I was on was dark, 39 00:03:13,200 --> 00:03:16,079 Speaker 1: it was cold. I saw the Grand House I've been 40 00:03:16,120 --> 00:03:19,000 Speaker 1: looking for. I took a deep breath of the cold, 41 00:03:19,080 --> 00:03:27,760 Speaker 1: black air and walked up to the front door. In 42 00:03:27,800 --> 00:03:34,720 Speaker 1: the second half of the the words stopped coming suddenly, 43 00:03:34,720 --> 00:03:37,880 Speaker 1: they just weren't there anymore. The well had run dry. 44 00:03:39,360 --> 00:03:41,320 Speaker 1: I had lost interest in my career, to tell you 45 00:03:41,360 --> 00:03:44,720 Speaker 1: the truth, I had reached a dead end of creativity. 46 00:03:44,760 --> 00:03:48,600 Speaker 1: And not to sound like an egomaniac, but what was 47 00:03:48,640 --> 00:03:50,320 Speaker 1: there left for me to do? That made me feel 48 00:03:50,360 --> 00:03:55,120 Speaker 1: lost for a while. I wanted to have a big 49 00:03:55,120 --> 00:03:58,920 Speaker 1: selling single, take it to number one. I've never had one, 50 00:03:59,000 --> 00:04:01,880 Speaker 1: but that charity single We Are the World, which I 51 00:04:01,920 --> 00:04:06,480 Speaker 1: was involved with, that did go to number one. I 52 00:04:06,560 --> 00:04:08,560 Speaker 1: was thrilled, even if it didn't look like it in 53 00:04:08,560 --> 00:04:12,240 Speaker 1: the video. And yeah, I know there's some sort of 54 00:04:12,480 --> 00:04:16,120 Speaker 1: viral video with me or whatever kind of half asking 55 00:04:16,200 --> 00:04:18,440 Speaker 1: it at the end of the song. But there were 56 00:04:18,440 --> 00:04:20,600 Speaker 1: a lot of greats there who really deserved to be heard. 57 00:04:21,480 --> 00:04:26,360 Speaker 1: Great Charles, what a voice point of sisters. But a 58 00:04:26,480 --> 00:04:28,679 Speaker 1: number one was the last thing left on my list. 59 00:04:29,800 --> 00:04:33,000 Speaker 1: I've done it all, seen it all, and lived so 60 00:04:33,000 --> 00:04:36,960 Speaker 1: many different existences. At the end, I thought I'd reached 61 00:04:37,000 --> 00:04:41,200 Speaker 1: some sort of nirvana, a zen like calm perhaps, But 62 00:04:41,279 --> 00:04:43,080 Speaker 1: actually I got to the top of the mountain and 63 00:04:43,200 --> 00:04:44,919 Speaker 1: found that the view was the same as it was 64 00:04:44,960 --> 00:04:50,000 Speaker 1: at the bottom. You can always go lower, I said 65 00:04:50,040 --> 00:04:52,839 Speaker 1: in an interview at the time. If the records I'm 66 00:04:52,839 --> 00:04:56,200 Speaker 1: making only sell a certain amount anyway, then why should 67 00:04:56,200 --> 00:04:59,920 Speaker 1: I take so long putting them together. That's how it felt, 68 00:05:00,000 --> 00:05:07,440 Speaker 1: the pointless, worthless static. I started sleeping in what I'd 69 00:05:07,440 --> 00:05:10,479 Speaker 1: worn that day. I used to change my identity, but 70 00:05:10,880 --> 00:05:13,120 Speaker 1: now I couldn't even be bothered to change my clothes. 71 00:05:14,440 --> 00:05:17,400 Speaker 1: I also took up a new hobby. I liked wandering 72 00:05:17,400 --> 00:05:20,000 Speaker 1: the streets on my own. I always did it late 73 00:05:20,040 --> 00:05:24,240 Speaker 1: at night, always two places I didn't know. I enjoyed 74 00:05:24,240 --> 00:05:28,360 Speaker 1: exploring deprived city districts the most, especially parts of town 75 00:05:28,360 --> 00:05:31,840 Speaker 1: where no one recognized me. I started near my house, 76 00:05:31,920 --> 00:05:35,600 Speaker 1: but then I went further afield. I'd get cabs two 77 00:05:35,600 --> 00:05:39,279 Speaker 1: places and walk and walk and walk. It was peaceful. 78 00:05:40,320 --> 00:05:42,000 Speaker 1: It was the only way I could get away from 79 00:05:42,000 --> 00:05:47,520 Speaker 1: whatever was dragging me down that day. Depression, loss, disappointment, 80 00:05:48,440 --> 00:05:52,640 Speaker 1: lack of creativity, All that just disappeared in the darkness 81 00:05:52,640 --> 00:05:57,760 Speaker 1: of those areas. I was anonymous, nothing to no one. 82 00:05:58,120 --> 00:06:02,480 Speaker 1: I was having a difficult time. People get into the 83 00:06:02,560 --> 00:06:06,719 Speaker 1: music industry for fame and money, right, but actually what 84 00:06:06,839 --> 00:06:10,279 Speaker 1: you find is really all they want is the money. 85 00:06:12,000 --> 00:06:14,000 Speaker 1: It might not seem like that to begin with, but 86 00:06:14,360 --> 00:06:19,799 Speaker 1: it always ends up that way. Fame is well, here's 87 00:06:19,800 --> 00:06:23,080 Speaker 1: a good idea of what fame is like. Imagine walking 88 00:06:23,120 --> 00:06:26,240 Speaker 1: into a room, any room, and every room you go 89 00:06:26,279 --> 00:06:30,160 Speaker 1: into from now on. The moment you walk into that room, 90 00:06:30,200 --> 00:06:35,240 Speaker 1: it's over. Everyone in that room changes like that. You 91 00:06:35,240 --> 00:06:38,640 Speaker 1: can actually see it happen. Life becomes phony when you're 92 00:06:38,680 --> 00:06:44,120 Speaker 1: famous trouble. After years of that, I wanted to be 93 00:06:44,160 --> 00:06:47,640 Speaker 1: part of something else, something that wasn't me, something that 94 00:06:47,720 --> 00:06:52,040 Speaker 1: wasn't Bob fucking Dylan. I first saw The Grateful Dead 95 00:06:52,080 --> 00:06:55,400 Speaker 1: in and I had been close with their leader, Jerry 96 00:06:55,400 --> 00:06:58,800 Speaker 1: Garcia ever since. I liked them as a band and 97 00:06:58,880 --> 00:07:01,800 Speaker 1: as people too, so it made sense to tour together. 98 00:07:03,040 --> 00:07:06,840 Speaker 1: That happened in when they were riding pretty high on 99 00:07:06,880 --> 00:07:09,520 Speaker 1: that touch of Gray song. And just like with the 100 00:07:09,520 --> 00:07:12,320 Speaker 1: Hall of Fame, Live Aid and a lot of other 101 00:07:12,400 --> 00:07:15,240 Speaker 1: things I had participated in at the time, it went 102 00:07:15,280 --> 00:07:17,440 Speaker 1: to ship. I did some things I wasn't proud of. 103 00:07:20,040 --> 00:07:23,920 Speaker 1: Rehearsals had gone well. I picked out this killer pink guitar. 104 00:07:25,120 --> 00:07:27,640 Speaker 1: I really felt part of the band, a proper member. 105 00:07:28,600 --> 00:07:31,240 Speaker 1: We must have gone through a hundred songs, man, I 106 00:07:31,320 --> 00:07:33,120 Speaker 1: was having the time of my life for a minute. 107 00:07:34,120 --> 00:07:37,840 Speaker 1: The first gig was in Massachusetts, a big place, a stadium. 108 00:07:37,960 --> 00:07:40,280 Speaker 1: We were in good spirits, but the band seemed a 109 00:07:40,280 --> 00:07:43,480 Speaker 1: little thrown off by my set list. I felt we 110 00:07:43,480 --> 00:07:46,240 Speaker 1: should mix it up. Like I said before, I like 111 00:07:46,320 --> 00:07:48,200 Speaker 1: to keep bands on their toes. It might have been 112 00:07:48,240 --> 00:07:52,640 Speaker 1: my most interesting. I couldn't wait to get out there 113 00:07:53,120 --> 00:07:56,600 Speaker 1: to play my songs with the Dead. We walked out 114 00:07:56,600 --> 00:08:00,280 Speaker 1: onto the stage. This is it, I thought, this is 115 00:08:00,320 --> 00:08:04,000 Speaker 1: what I've been missing. Our first song was the Times 116 00:08:04,040 --> 00:08:09,320 Speaker 1: They Are Changing. We started and I don't know what 117 00:08:09,400 --> 00:08:14,440 Speaker 1: went wrong, but it all sounded wrong. Everything sounded like 118 00:08:14,480 --> 00:08:19,840 Speaker 1: it was in the wrong key. Fresh disappointment. It must 119 00:08:19,840 --> 00:08:23,000 Speaker 1: be the song. I thought. Man of Peace was the next, 120 00:08:23,040 --> 00:08:26,040 Speaker 1: and it sounded the same. It was as if we'd 121 00:08:26,160 --> 00:08:30,560 Speaker 1: never practiced. I'll be your baby tonight, John Brown, I 122 00:08:30,600 --> 00:08:37,600 Speaker 1: want you all wrong, wrong, wrong, renewed despair. What the 123 00:08:37,600 --> 00:08:41,760 Speaker 1: hell was happening? It sounded so bad. We limped off 124 00:08:41,760 --> 00:08:43,800 Speaker 1: the stage that night, with me wondering what I had 125 00:08:43,800 --> 00:08:47,320 Speaker 1: just been part of the next gig back at that 126 00:08:47,400 --> 00:08:50,280 Speaker 1: damn JFK Stadium where I had graced the live aid 127 00:08:50,360 --> 00:08:54,800 Speaker 1: stage a few years earlier. It was the same. In fact, 128 00:08:54,840 --> 00:08:57,439 Speaker 1: that night was even worse. I started to forget the 129 00:08:57,520 --> 00:09:00,480 Speaker 1: lyrics to my own songs. Not only were like finding 130 00:09:00,480 --> 00:09:03,199 Speaker 1: it difficult to write new material, but I was forgetting 131 00:09:03,200 --> 00:09:09,559 Speaker 1: the stuff I had already written. Great bottom after the bottom. 132 00:09:09,600 --> 00:09:13,040 Speaker 1: I put all these problems down to back pain. I've 133 00:09:13,080 --> 00:09:15,560 Speaker 1: been suffering a lot of it since that motorcycle crashed 134 00:09:15,559 --> 00:09:19,880 Speaker 1: two decades prior. But but honestly, thinking about it now, 135 00:09:20,200 --> 00:09:22,120 Speaker 1: it might have had something to do with my drinking 136 00:09:22,160 --> 00:09:25,600 Speaker 1: at the time too. The tour went on like that. 137 00:09:27,679 --> 00:09:29,400 Speaker 1: A couple of years later, I showed up at a 138 00:09:29,440 --> 00:09:32,920 Speaker 1: Dead show in Inglewood, California. After the first half of 139 00:09:32,960 --> 00:09:34,640 Speaker 1: the show, I was desperate to get up there and 140 00:09:34,640 --> 00:09:39,040 Speaker 1: play with them, so I went backstage and asked, of course, Bob, 141 00:09:39,080 --> 00:09:41,880 Speaker 1: we'd love that. Jerry said right away, and so the 142 00:09:41,880 --> 00:09:43,600 Speaker 1: second half of the show was all of us on 143 00:09:43,679 --> 00:09:47,640 Speaker 1: stage again. The sound of the Dead was immense. It 144 00:09:47,760 --> 00:09:51,240 Speaker 1: was so tight but had a free spirit. I was 145 00:09:51,280 --> 00:09:53,280 Speaker 1: thrilled to be standing there on stage with them, but 146 00:09:53,720 --> 00:09:56,199 Speaker 1: I suddenly realized I got a bit carried away when 147 00:09:56,240 --> 00:09:58,360 Speaker 1: you're down and you think you can't get any lower. 148 00:10:01,080 --> 00:10:04,160 Speaker 1: I didn't really know any of their lyrics. The mic 149 00:10:04,200 --> 00:10:07,120 Speaker 1: in front of me became a viper. I was scared 150 00:10:07,120 --> 00:10:10,640 Speaker 1: to approach it. I started off strong, but ended up 151 00:10:10,720 --> 00:10:14,160 Speaker 1: mumbling into it, mumbling in front of ten thousand people 152 00:10:15,360 --> 00:10:18,120 Speaker 1: basically that we are the world video clip, but a 153 00:10:18,200 --> 00:10:22,439 Speaker 1: hundred times worse. It was my fault. I had demanded 154 00:10:22,440 --> 00:10:25,760 Speaker 1: to play dead songs, none of my own stuff. I 155 00:10:25,760 --> 00:10:28,440 Speaker 1: didn't want to be Bob Dylan. That night I couldn't 156 00:10:28,440 --> 00:10:33,480 Speaker 1: bear it. I changed so many times. Bob Ware from 157 00:10:33,520 --> 00:10:35,800 Speaker 1: the band shot me a hateful look when I repeated 158 00:10:35,840 --> 00:10:38,880 Speaker 1: my mumbled performance on the next song. In fact, the 159 00:10:38,880 --> 00:10:41,839 Speaker 1: whole band did. I looked down at my feet and 160 00:10:42,200 --> 00:10:45,720 Speaker 1: realized how drunk I was. My shoes looked blurry as 161 00:10:45,760 --> 00:10:49,080 Speaker 1: I weakly strum the guitar. After that song, the band 162 00:10:49,120 --> 00:10:51,160 Speaker 1: demanded I sing my own songs and I had to 163 00:10:51,160 --> 00:10:54,360 Speaker 1: get off the stage. We played a couple of mine 164 00:10:54,400 --> 00:10:58,840 Speaker 1: and it was great, well, I thought so. Anyway. The 165 00:10:58,920 --> 00:11:01,040 Speaker 1: next day I called the it's office and asked if 166 00:11:01,040 --> 00:11:04,000 Speaker 1: they would have me in the band full time, I 167 00:11:04,120 --> 00:11:09,000 Speaker 1: was serious, man, They took a vote, a fucking vote. 168 00:11:10,360 --> 00:11:14,200 Speaker 1: Even worse than that, The answer was no. I was crushed. 169 00:11:14,840 --> 00:11:19,800 Speaker 1: I drank an entire bottle of whiskey that night. Still, 170 00:11:19,840 --> 00:11:24,560 Speaker 1: remember you can always go lower. Right, Another band and 171 00:11:24,600 --> 00:11:28,240 Speaker 1: another tour would see my situation get even worse. It 172 00:11:28,280 --> 00:12:02,360 Speaker 1: would be a real heartbreaker. The house is still and 173 00:12:02,600 --> 00:12:06,880 Speaker 1: so quiet. In one room, I could see beautiful wrongs 174 00:12:06,920 --> 00:12:10,360 Speaker 1: all laid out over a wooden floor. I'm clutching a 175 00:12:10,360 --> 00:12:13,600 Speaker 1: load of papers tied to my chest. Suddenly I feel 176 00:12:13,640 --> 00:12:21,240 Speaker 1: like someone is behind me. You're an alcoholic, That's what 177 00:12:21,320 --> 00:12:25,920 Speaker 1: she said to me. It's not true. Of course, she 178 00:12:26,240 --> 00:12:29,040 Speaker 1: is one of the women I'm currently seeing. By the way, 179 00:12:30,000 --> 00:12:32,120 Speaker 1: I put her in a house in Beverly Hills Worth 180 00:12:32,200 --> 00:12:35,400 Speaker 1: five thousand and All she has to say is I 181 00:12:35,520 --> 00:12:41,640 Speaker 1: drink too much. No gratitude, none whatsoever. I am giving 182 00:12:41,720 --> 00:12:45,320 Speaker 1: up women. Write that down. There's always a bottom after 183 00:12:45,360 --> 00:12:53,040 Speaker 1: the bottom. Although having said that, Elizabeth Taylor, now there's 184 00:12:53,080 --> 00:12:56,600 Speaker 1: a woman. She came on to me once in Washington, 185 00:12:56,720 --> 00:13:00,280 Speaker 1: d C. You heard about that. It was at a 186 00:13:00,320 --> 00:13:04,480 Speaker 1: tribute concert to Martin Luther King Jr. God, she was 187 00:13:04,559 --> 00:13:07,959 Speaker 1: something I was in a flannel shirt and she still 188 00:13:08,000 --> 00:13:14,040 Speaker 1: came onto me. It wasn't all that bad, you hear that. Look, 189 00:13:14,679 --> 00:13:17,760 Speaker 1: drinking has always been something I've done, but it's not 190 00:13:17,880 --> 00:13:21,920 Speaker 1: something that slows me down. Okay, I'm not drinking morning, 191 00:13:22,240 --> 00:13:28,280 Speaker 1: noon and morning. No morning, noon and night. A new 192 00:13:28,360 --> 00:13:33,679 Speaker 1: level down. That tour with the Dead was it didn't work. 193 00:13:33,960 --> 00:13:36,719 Speaker 1: I told you that, right, but you know, to hell 194 00:13:36,800 --> 00:13:39,800 Speaker 1: with it. We did it and it's sold. So what's 195 00:13:39,800 --> 00:13:43,400 Speaker 1: the problem. People bitch and moan that it wasn't this 196 00:13:43,520 --> 00:13:50,000 Speaker 1: or it wasn't that. Forget him so anyway, Oh yeah, 197 00:13:50,160 --> 00:13:54,800 Speaker 1: the tour right, So, the Grateful Dead tour happened around 198 00:13:54,800 --> 00:13:57,160 Speaker 1: the time. I was also going on tour with another band, 199 00:13:57,640 --> 00:14:00,960 Speaker 1: Tom Petty and the Heartbreakers. I got married around that 200 00:14:01,000 --> 00:14:05,160 Speaker 1: time too. I probably should have mentioned that I've always 201 00:14:05,200 --> 00:14:08,199 Speaker 1: been good at keeping my personal life a secret. People 202 00:14:08,200 --> 00:14:12,640 Speaker 1: didn't see that one coming. Cheers to me. I guess. Look, 203 00:14:12,880 --> 00:14:16,240 Speaker 1: sure I was married, but I had girlfriends too, not 204 00:14:16,360 --> 00:14:20,800 Speaker 1: a big deal. Everyone involved knew the situation, new desperation. 205 00:14:23,080 --> 00:14:27,480 Speaker 1: What was I saying? Oh yeah, those Heartbreaker shows, they 206 00:14:27,480 --> 00:14:30,680 Speaker 1: were great. We had a ball on that tour. I 207 00:14:30,760 --> 00:14:33,840 Speaker 1: loved it. My new wife was singing backing vocals with me. 208 00:14:34,600 --> 00:14:37,720 Speaker 1: Her mom was part of that too. On tour with 209 00:14:37,760 --> 00:14:40,520 Speaker 1: my mother in law. They said never do it, but 210 00:14:40,880 --> 00:14:45,760 Speaker 1: it worked out just fine. Wasn't all that bad. In fact, 211 00:14:45,800 --> 00:14:48,280 Speaker 1: it was my favorite bit of the tour. Those women 212 00:14:48,320 --> 00:14:51,720 Speaker 1: we had on backing vocals, there was something else. Their 213 00:14:51,760 --> 00:14:54,640 Speaker 1: harmonies were incredible. I used to get them to come 214 00:14:54,640 --> 00:14:56,280 Speaker 1: to my hotel room in the dead of night and 215 00:14:56,320 --> 00:15:00,760 Speaker 1: practice with me. Their sound was unreal man, and I 216 00:15:00,800 --> 00:15:05,120 Speaker 1: love those women almost as much as Bourbon Fresh Trouble. 217 00:15:06,600 --> 00:15:10,040 Speaker 1: We played Tel Aviv on that Heartbreakers tour. That was 218 00:15:10,080 --> 00:15:14,760 Speaker 1: my first time in Israel. I found it fascinating the crowd, 219 00:15:14,800 --> 00:15:18,920 Speaker 1: though they were less excited about my show. They moaned 220 00:15:18,960 --> 00:15:24,840 Speaker 1: about about guess what the usual? They wanted the greatest 221 00:15:24,920 --> 00:15:28,560 Speaker 1: hit set. Well, I don't do that. I do what 222 00:15:28,640 --> 00:15:31,880 Speaker 1: I want. You don't want to just get up there 223 00:15:31,920 --> 00:15:34,720 Speaker 1: and start guessing what the people want. You can't let 224 00:15:34,720 --> 00:15:39,800 Speaker 1: the audience start controlling the show. Write that down. That 225 00:15:39,920 --> 00:15:44,440 Speaker 1: was a great tour, a great, great tour. I'm stunned 226 00:15:44,480 --> 00:15:48,760 Speaker 1: we can even remember it well. I can remember it fine. Thanks. 227 00:15:49,800 --> 00:15:52,040 Speaker 1: You seem to have forgotten a pretty awful moment in it. 228 00:15:52,600 --> 00:15:57,680 Speaker 1: Remember it's not ringing any bells. It's not ringing any bells. 229 00:15:58,760 --> 00:16:01,040 Speaker 1: If you have something to say it whining and fucking 230 00:16:01,120 --> 00:16:06,080 Speaker 1: say it. Gary Schaffer, Oh, here we go. You're all 231 00:16:06,160 --> 00:16:10,760 Speaker 1: high and mighty. Yeah, maybe just lay off the booze 232 00:16:10,760 --> 00:16:12,600 Speaker 1: for a second and we can give me a break. 233 00:16:13,080 --> 00:16:15,920 Speaker 1: Are you going to tell them the story? Or should I? 234 00:16:15,920 --> 00:16:19,520 Speaker 1: I haven't got time to discuss hearsay, hurt feelings or okay? 235 00:16:19,560 --> 00:16:22,840 Speaker 1: So Gary was our road manager. A road manager sorts 236 00:16:22,880 --> 00:16:30,160 Speaker 1: out hotel arrangements, media obligations, support staff, equipment, all that stuff. God, 237 00:16:30,680 --> 00:16:33,880 Speaker 1: this is all terribly fascinating. Gary was more than a 238 00:16:33,960 --> 00:16:36,800 Speaker 1: road manager, though. He was a really good guy. And 239 00:16:36,920 --> 00:16:42,280 Speaker 1: I we okay, okay, enough, I'll tell them Gary was 240 00:16:42,280 --> 00:16:45,080 Speaker 1: our road guy. And at one point on that tour 241 00:16:45,160 --> 00:16:47,600 Speaker 1: he had to leave. He had to head back to 242 00:16:47,640 --> 00:16:51,920 Speaker 1: California for some private business. Britta Lee, a woman on 243 00:16:51,960 --> 00:16:55,240 Speaker 1: tour with us, was Gary's girl and a musician too. 244 00:16:56,280 --> 00:16:59,960 Speaker 1: Gary loved her, worshiped her. But while he was gone, 245 00:17:00,120 --> 00:17:04,560 Speaker 1: we got close. We had an affair. We had an affair. 246 00:17:05,480 --> 00:17:08,760 Speaker 1: Gary had been devoted to us, And let's not lay 247 00:17:08,760 --> 00:17:12,400 Speaker 1: it on too thick. Okay, these things happen sometimes they've 248 00:17:12,440 --> 00:17:16,159 Speaker 1: just happened. We betrayed someone close to us. Look, she 249 00:17:16,320 --> 00:17:18,720 Speaker 1: was part of it too. It's not all down to me, 250 00:17:18,840 --> 00:17:21,879 Speaker 1: you know. But you're here and she's not. I still 251 00:17:21,880 --> 00:17:24,280 Speaker 1: remember the faces of everyone when he left the tour 252 00:17:24,440 --> 00:17:28,600 Speaker 1: after he found out. Man, that was awful. Oh please, 253 00:17:28,640 --> 00:17:34,119 Speaker 1: you're loving us? I felt shamed, disgrace what and I 254 00:17:34,160 --> 00:17:37,160 Speaker 1: didn't feel those two You remember his statement when leaving 255 00:17:37,160 --> 00:17:39,800 Speaker 1: the tour, I suppose you have a copy of it. 256 00:17:39,880 --> 00:17:43,000 Speaker 1: Do you bring it with you wherever you go? Huh? 257 00:17:43,000 --> 00:17:45,399 Speaker 1: This is what he said when he left. It was 258 00:17:45,440 --> 00:17:47,480 Speaker 1: a privilege to be there for the years I was 259 00:17:47,560 --> 00:17:52,200 Speaker 1: there as an artist. I respect the guy as an artist. 260 00:17:52,240 --> 00:18:07,119 Speaker 1: He respects us, not a person. I honestly don't blame him. 261 00:18:07,160 --> 00:18:17,800 Speaker 1: We'll be right back after this word, word word. There's 262 00:18:17,800 --> 00:18:20,520 Speaker 1: a man in the corner of the room. He's dressed 263 00:18:20,520 --> 00:18:24,200 Speaker 1: all in black. He smiles and asks if I'm ready. 264 00:18:25,280 --> 00:18:29,000 Speaker 1: I say yes. I can feel the excitement pulsing through 265 00:18:29,000 --> 00:18:36,479 Speaker 1: my blood. At this point in my life, my musical 266 00:18:36,520 --> 00:18:41,520 Speaker 1: path was no longer clear. It was overgrown, full of vines, 267 00:18:41,600 --> 00:18:46,480 Speaker 1: and I knew it. There was a missing person within 268 00:18:46,560 --> 00:18:49,680 Speaker 1: me that I needed to find. I fantasized about leaving 269 00:18:49,720 --> 00:18:53,639 Speaker 1: the music business. That tour with Tom Petty. I was 270 00:18:53,680 --> 00:18:57,680 Speaker 1: convinced that was my last, one, last payday to see 271 00:18:57,720 --> 00:19:02,159 Speaker 1: me through to retirement. What would I do next? Go 272 00:19:02,240 --> 00:19:09,800 Speaker 1: to church, sail the seas, live in another country Italy, Scotland, Greece. 273 00:19:11,080 --> 00:19:15,040 Speaker 1: I had no idea. You can't force yourself to change. 274 00:19:16,200 --> 00:19:18,919 Speaker 1: I even called up a business expert I knew. I 275 00:19:19,000 --> 00:19:21,480 Speaker 1: told him I wanted to sell everything I owned to 276 00:19:21,600 --> 00:19:25,160 Speaker 1: invest in something new. He came round to my house 277 00:19:25,160 --> 00:19:28,800 Speaker 1: with a brochure for all these different businesses. I was interested, 278 00:19:28,840 --> 00:19:32,800 Speaker 1: no doubt. It felt like an escape route, a new horizon. 279 00:19:34,080 --> 00:19:40,119 Speaker 1: Why not turn into a business man? That felt easy, enticing, revolutionary, 280 00:19:40,160 --> 00:19:46,840 Speaker 1: even for me anyway, most interesting, A more conventional life 281 00:19:46,840 --> 00:19:50,639 Speaker 1: called me, and again I deserved it. The albums I 282 00:19:50,640 --> 00:19:52,880 Speaker 1: had been making for the past few years weren't really 283 00:19:52,920 --> 00:19:55,639 Speaker 1: doing it for me, and in fact, I felt like 284 00:19:55,680 --> 00:19:59,280 Speaker 1: they were doing it for less and less people. If 285 00:19:59,320 --> 00:20:01,879 Speaker 1: it doesn't interest you when you're making the music, it 286 00:20:01,960 --> 00:20:05,840 Speaker 1: probably ain't gonna interest other people when they're listening. I 287 00:20:05,920 --> 00:20:09,639 Speaker 1: made the album Knocked Out Loaded. Tom Co wrote a 288 00:20:09,680 --> 00:20:12,520 Speaker 1: song on that, But the real gem was Brownsville Girl. 289 00:20:13,440 --> 00:20:15,560 Speaker 1: The critics love that one, and I can see why. 290 00:20:16,600 --> 00:20:19,880 Speaker 1: I wrote it with the playwright Sam Shepard. We were 291 00:20:19,920 --> 00:20:22,080 Speaker 1: at a creative dead end in the studio, which was 292 00:20:22,160 --> 00:20:26,280 Speaker 1: pretty common for the time. Sam said we should tell stories, 293 00:20:26,960 --> 00:20:30,200 Speaker 1: so we both exchanged a couple of good ones. One 294 00:20:30,240 --> 00:20:32,920 Speaker 1: of mine was about going to see a film what's 295 00:20:32,920 --> 00:20:37,600 Speaker 1: it called The Gunfighter? That's it. It stars Gregory Peck. 296 00:20:38,240 --> 00:20:41,560 Speaker 1: Sam jumped up and said, that's it. Let's write a 297 00:20:41,600 --> 00:20:46,320 Speaker 1: song about that, so we wrote this epic. A beam 298 00:20:46,359 --> 00:20:48,360 Speaker 1: of light shot into my mind. When we did that, 299 00:20:49,359 --> 00:20:51,280 Speaker 1: I felt like I was off again, off to the 300 00:20:51,359 --> 00:20:54,920 Speaker 1: races with my writing. But while in that moment there 301 00:20:55,000 --> 00:20:58,720 Speaker 1: was joy and excitement, it made the aftermath even worse. 302 00:21:00,520 --> 00:21:03,200 Speaker 1: After that brief second of inspiration, I was straight back 303 00:21:03,200 --> 00:21:06,760 Speaker 1: into the waste land, straight back to torched grass and 304 00:21:06,880 --> 00:21:11,400 Speaker 1: dry wells. It was a false dawn. I still couldn't 305 00:21:11,400 --> 00:21:16,680 Speaker 1: write There's always a bottom after the bottom. The rest 306 00:21:16,680 --> 00:21:18,879 Speaker 1: of the album sort of passed me by, and so 307 00:21:19,000 --> 00:21:24,399 Speaker 1: did the next one, renewed despair. After that record, I 308 00:21:24,440 --> 00:21:28,200 Speaker 1: injured my hand. I thought I might never play guitar again. 309 00:21:29,400 --> 00:21:32,240 Speaker 1: I remember looking at it one day, the plaster cast 310 00:21:32,320 --> 00:21:35,479 Speaker 1: up to my elbow, and I remember thinking what if 311 00:21:35,520 --> 00:21:39,880 Speaker 1: I never played the guitar again. Honestly, I didn't feel 312 00:21:39,920 --> 00:21:43,600 Speaker 1: that bad about it. I had no connection to inspiration 313 00:21:43,680 --> 00:21:50,560 Speaker 1: of any kind. Even my own songs were strangersment. The 314 00:21:50,600 --> 00:21:53,760 Speaker 1: injury forced me home. I spent time with my new wife. 315 00:21:54,560 --> 00:21:58,800 Speaker 1: I did nothing. Mornings were spent in bed. Afternoons were 316 00:21:58,840 --> 00:22:03,119 Speaker 1: spent falling asleep my armchair the nighttime, that's when I 317 00:22:03,160 --> 00:22:05,399 Speaker 1: was awake, and even then I would just sit around. 318 00:22:06,960 --> 00:22:09,560 Speaker 1: One night, when everyone was asleep, I was at the 319 00:22:09,600 --> 00:22:13,280 Speaker 1: kitchen table staring at the hillside. I could see nothing 320 00:22:13,280 --> 00:22:16,280 Speaker 1: but a bed of shiny lights twinkling in the distance. 321 00:22:17,359 --> 00:22:19,120 Speaker 1: I don't know why, but I picked up a pen 322 00:22:19,240 --> 00:22:22,720 Speaker 1: with my good hand and wrote. And I wrote and 323 00:22:22,800 --> 00:22:28,639 Speaker 1: wrote and wrote it that bad. Nothing had changed, Nothing 324 00:22:28,720 --> 00:22:33,560 Speaker 1: was different except I couldn't stop writing. I finished with 325 00:22:33,600 --> 00:22:37,840 Speaker 1: twenty verses, which became the song Political World. It emerged 326 00:22:37,920 --> 00:22:40,920 Speaker 1: like a fire hydrant, bursting open, completely out of the blue. 327 00:22:41,960 --> 00:22:44,000 Speaker 1: It was like someone had struck a gong and brought 328 00:22:44,040 --> 00:22:47,560 Speaker 1: me to my senses. When I finished writing, I looked 329 00:22:47,600 --> 00:22:50,760 Speaker 1: down at the scratchy page. Moonlight was cast across it. 330 00:22:51,760 --> 00:22:54,800 Speaker 1: I knew then I could use these words. It felt 331 00:22:54,840 --> 00:23:00,159 Speaker 1: like the start of something. The next week, I was 332 00:23:00,160 --> 00:23:02,639 Speaker 1: in New York. I had been to see a play 333 00:23:02,640 --> 00:23:05,639 Speaker 1: and had some drinks. On the way back to the car, 334 00:23:05,680 --> 00:23:08,240 Speaker 1: I passed a homeless man being ordered to move by 335 00:23:08,280 --> 00:23:12,200 Speaker 1: some cops. His head was in his hands. The whole 336 00:23:12,200 --> 00:23:16,840 Speaker 1: thing was desperate. Everyone in that situation looked hopeless, despair. 337 00:23:19,280 --> 00:23:21,399 Speaker 1: That night, at home, in my little art studio, I 338 00:23:21,440 --> 00:23:24,840 Speaker 1: wrote the song what Good Am I? It came to 339 00:23:24,880 --> 00:23:29,080 Speaker 1: me all at once, delivered from up above, inspired by 340 00:23:29,119 --> 00:23:32,200 Speaker 1: that homeless man. The next morning, I was at the 341 00:23:32,240 --> 00:23:35,159 Speaker 1: breakfast table again. We had the radio on and I 342 00:23:35,240 --> 00:23:38,520 Speaker 1: heard the sad news that Peter Maravich, the basketball player, 343 00:23:38,520 --> 00:23:41,879 Speaker 1: had died. He collapsed on the court and never got up. 344 00:23:42,920 --> 00:23:46,520 Speaker 1: Almost instantly, I wrote the entire song Dignity for Peter. 345 00:23:48,160 --> 00:23:52,960 Speaker 1: They kept coming and coming, one, two, three. They continued 346 00:23:53,000 --> 00:23:55,679 Speaker 1: like that for a while. I kept writing them on 347 00:23:55,720 --> 00:23:58,000 Speaker 1: these sheets of paper, then stashing them in a drawer 348 00:23:58,000 --> 00:24:01,840 Speaker 1: in my house. I couldn't understand where they were coming from. 349 00:24:02,080 --> 00:24:06,200 Speaker 1: You can't force yourself to change. I had some people 350 00:24:06,200 --> 00:24:09,440 Speaker 1: over for dinner one night, friends from far and wide came. 351 00:24:10,280 --> 00:24:13,120 Speaker 1: One of them was Bonno, the front man for you too. 352 00:24:14,480 --> 00:24:17,840 Speaker 1: I like Bono. He's kind of a philosopher but tough. 353 00:24:18,560 --> 00:24:20,199 Speaker 1: He could have been a New York City cop in 354 00:24:20,200 --> 00:24:23,640 Speaker 1: another life. After the dinner, everyone else had gone to bed, 355 00:24:23,640 --> 00:24:25,480 Speaker 1: and it was just the two of us polishing off 356 00:24:25,520 --> 00:24:29,840 Speaker 1: of creative guinness. Yeah, an irishman brought a creative guinness 357 00:24:29,880 --> 00:24:34,919 Speaker 1: to my house. The stereotype is true. Man. We watched 358 00:24:34,920 --> 00:24:37,600 Speaker 1: a freighter make it slow way across the ocean from 359 00:24:37,600 --> 00:24:40,359 Speaker 1: my giant window, and we spoke about everything from the 360 00:24:40,440 --> 00:24:45,080 Speaker 1: history of America to religion and then inevitably music. I 361 00:24:45,240 --> 00:24:49,160 Speaker 1: changed so many times. Bonno asked if I had written 362 00:24:49,160 --> 00:24:52,800 Speaker 1: any new songs. I tensed up immediately, thinking of the 363 00:24:52,880 --> 00:24:56,200 Speaker 1: drawer with all my sheets of paper in it. Yeah, 364 00:24:56,280 --> 00:25:00,159 Speaker 1: I said, in kind of a dead end wayn I 365 00:25:00,160 --> 00:25:03,320 Speaker 1: see them, he asked, I could feel the sheets of 366 00:25:03,320 --> 00:25:07,040 Speaker 1: paper now. It was like Edgar all imposed Hell Tale Heart. 367 00:25:08,000 --> 00:25:10,320 Speaker 1: They were beating like a subway train in that drawer, 368 00:25:10,920 --> 00:25:16,520 Speaker 1: giving me away the dumb the dune, the dune. I 369 00:25:16,560 --> 00:25:19,840 Speaker 1: hadn't shown anyone those words. I had not said anything 370 00:25:19,880 --> 00:25:23,320 Speaker 1: about this new inspiration, nothing at all. I didn't know 371 00:25:23,320 --> 00:25:25,400 Speaker 1: if I was ready. I didn't know if I could 372 00:25:25,400 --> 00:25:30,399 Speaker 1: face it all again. That made me feel lost. But Bono, 373 00:25:30,560 --> 00:25:34,840 Speaker 1: he's persuasive. He looked them over as he drained the 374 00:25:34,840 --> 00:25:38,400 Speaker 1: final drops of guinness. You should record these, he said. 375 00:25:39,480 --> 00:25:41,080 Speaker 1: He told me he had just the guy to help. 376 00:25:41,480 --> 00:25:45,240 Speaker 1: It has to happen naturally. Before I knew it, I 377 00:25:45,280 --> 00:25:47,520 Speaker 1: was standing in the great city of New Orleans shaking 378 00:25:47,560 --> 00:25:52,040 Speaker 1: hands with Daniel Lanois. Daniel had produced some pretty successful 379 00:25:52,040 --> 00:25:54,359 Speaker 1: records for Bono, and he said we would be a 380 00:25:54,359 --> 00:25:57,960 Speaker 1: good match. Fate seemed to have taken me into a 381 00:25:58,000 --> 00:26:00,520 Speaker 1: gulf stream. Just when I thought it was the end, 382 00:26:01,200 --> 00:26:03,399 Speaker 1: Once again, I found myself on the verge of a 383 00:26:03,440 --> 00:26:08,640 Speaker 1: new existence. It's interesting if you look closely, the first 384 00:26:08,640 --> 00:26:11,040 Speaker 1: thing you notice about New Orleans is the burial grounds. 385 00:26:11,400 --> 00:26:14,880 Speaker 1: The cemeteries. I saw so many when I first got there. 386 00:26:15,600 --> 00:26:17,399 Speaker 1: I remember passing one, and I felt like I was 387 00:26:17,480 --> 00:26:20,440 Speaker 1: leaving behind whatever existence I'd been living over the past 388 00:26:20,440 --> 00:26:25,600 Speaker 1: few years. It felt cleansing. I strolled to this huge 389 00:26:25,600 --> 00:26:28,879 Speaker 1: house just off of Audubon Park, one that Daniel had 390 00:26:28,920 --> 00:26:32,840 Speaker 1: rented for the recording sessions. I felt nervous. I did 391 00:26:32,880 --> 00:26:36,880 Speaker 1: some things I wasn't proud of. I felt like if 392 00:26:36,880 --> 00:26:39,560 Speaker 1: I didn't do these words justice. It might really be 393 00:26:39,600 --> 00:26:41,760 Speaker 1: the end for me. And while that prospect of the 394 00:26:41,920 --> 00:26:45,280 Speaker 1: end had seemed intriguing and even comforting after that Tom 395 00:26:45,320 --> 00:26:48,960 Speaker 1: Petty's tour, this time I wasn't ready to say goodbye. 396 00:26:50,359 --> 00:26:52,560 Speaker 1: My heart began to beat faster as I walked up 397 00:26:52,560 --> 00:26:55,800 Speaker 1: the drive. I pushed open the front door, took a 398 00:26:55,800 --> 00:26:59,000 Speaker 1: look around and saw Daniel standing there, dressed in all black. 399 00:26:59,760 --> 00:27:02,920 Speaker 1: He was noir through and through. Man, are you ready, 400 00:27:02,960 --> 00:27:10,040 Speaker 1: he asked, I've never been so ready fresh troubles. We 401 00:27:10,080 --> 00:27:12,480 Speaker 1: emerged that next month with one of the best albums 402 00:27:12,480 --> 00:27:17,840 Speaker 1: of my career. Oh Mercy was a true rebirth. Maybe, 403 00:27:17,920 --> 00:27:22,320 Speaker 1: I thought to myself, maybe I'm not done yet. I 404 00:27:22,359 --> 00:27:25,119 Speaker 1: called up that business expert, the one that came to 405 00:27:25,160 --> 00:27:28,399 Speaker 1: my house with the investment opportunities. I rang him the 406 00:27:28,440 --> 00:27:31,840 Speaker 1: day after we finished the record. I'm gonna put everything 407 00:27:31,840 --> 00:27:34,760 Speaker 1: on hold. I told him. Something new has come up. 408 00:28:04,359 --> 00:28:08,120 Speaker 1: The lights the Odeon Marble Arch Cinema shine brightly against 409 00:28:08,119 --> 00:28:12,200 Speaker 1: the gray London sky. All sorts of famous faces make 410 00:28:12,240 --> 00:28:15,919 Speaker 1: appearances on the red carpet, heading towards the cinema's glass doors. 411 00:28:16,920 --> 00:28:19,840 Speaker 1: Standing at the top of the red carpet is Gerald Abrams, 412 00:28:20,240 --> 00:28:24,920 Speaker 1: executive producer at Phoenix Entertainment Group. He nervously pulls back 413 00:28:25,000 --> 00:28:27,840 Speaker 1: the sleeve of his Saville Row suit jacket to reveal 414 00:28:28,040 --> 00:28:32,399 Speaker 1: his gold rolex. It is eight fifteen PM, getting close 415 00:28:32,440 --> 00:28:36,240 Speaker 1: to the point of no return. Hyde Park wounds in 416 00:28:36,280 --> 00:28:39,880 Speaker 1: the distance. The huge banner hanging to Abram's side reads 417 00:28:39,920 --> 00:28:43,880 Speaker 1: in glossy red letters, Hearts of Fire Premiere, London, October. 418 00:28:46,400 --> 00:28:49,240 Speaker 1: Abrams scans the faces of the people walking towards him 419 00:28:49,240 --> 00:28:52,880 Speaker 1: for what feels like the millionth time that night. Damn, 420 00:28:52,920 --> 00:28:55,720 Speaker 1: he mutters, before checking his watch again and it is 421 00:28:55,760 --> 00:28:59,560 Speaker 1: still eight fift He catches the eye of producer Jennifer 422 00:28:59,560 --> 00:29:02,760 Speaker 1: Award looking hopefully at him, but her smile disappears when 423 00:29:02,800 --> 00:29:06,400 Speaker 1: Abrams shakes his head. Let's who spend the next half 424 00:29:06,400 --> 00:29:10,240 Speaker 1: hour waiting for the film premier's most notable absence. It's 425 00:29:10,280 --> 00:29:13,840 Speaker 1: not the pictures director Richard Markwin, who sadly passed away 426 00:29:13,880 --> 00:29:17,080 Speaker 1: from a stroke going a month before. It is, in fact, 427 00:29:17,120 --> 00:29:20,440 Speaker 1: the film's top build actor, who, despite being paid a 428 00:29:20,560 --> 00:29:24,440 Speaker 1: reported one million dollars, is nowhere to be seen. He's 429 00:29:24,480 --> 00:29:27,800 Speaker 1: got fifteen minutes. Abram smiles across the carpet. Howard, who 430 00:29:27,840 --> 00:29:32,160 Speaker 1: forces a smile. Just then, Abrams spots a man with 431 00:29:32,280 --> 00:29:35,080 Speaker 1: curly hair, wearing a leather jacket and gloves, with the 432 00:29:35,120 --> 00:29:38,040 Speaker 1: fingers cut off in sporting and earring in his right ear. 433 00:29:38,480 --> 00:29:41,400 Speaker 1: It must be thanks to himself. It must be The 434 00:29:41,440 --> 00:29:44,160 Speaker 1: bodies on the red carpet finally shift to reveal a 435 00:29:44,240 --> 00:29:48,479 Speaker 1: man's face. Abram's exhales and hope goes with his breath. 436 00:29:49,040 --> 00:29:51,720 Speaker 1: It's not the man he's looking for. He checks his 437 00:29:51,760 --> 00:29:58,720 Speaker 1: watch again. Barely five minutes away from the theater, Bob 438 00:29:58,800 --> 00:30:00,800 Speaker 1: Dylan sits in his usual A Little Sweet in the 439 00:30:00,800 --> 00:30:04,760 Speaker 1: Mayfair Hotel, surrounded by magazines and cassette tapes that sit 440 00:30:04,840 --> 00:30:08,040 Speaker 1: upon an unmade bed. Plates of food cover the counter. 441 00:30:08,960 --> 00:30:12,160 Speaker 1: A loud knock at the door. Dylan stands up, slowly, 442 00:30:12,200 --> 00:30:14,800 Speaker 1: walks to the large entrance hall and opens the heavy 443 00:30:14,880 --> 00:30:18,960 Speaker 1: ornate white door with a loud click. Ah, Mr Goldsmith, 444 00:30:19,000 --> 00:30:23,440 Speaker 1: The announces go on in the legendary concert promoter Harvey 445 00:30:23,480 --> 00:30:26,200 Speaker 1: Goldsmith stomps into the room, moving like he's a bee's 446 00:30:26,240 --> 00:30:30,800 Speaker 1: nest on two legs. Is everything okay, he asked Dylan. 447 00:30:31,040 --> 00:30:33,959 Speaker 1: I don't usually get something to your suite. Dylan had 448 00:30:34,000 --> 00:30:36,920 Speaker 1: seen Goldsmith leaving his show the night before. He felt 449 00:30:36,920 --> 00:30:40,600 Speaker 1: a little embarrassed to even mention it. Goldsmith inhale slowly 450 00:30:40,640 --> 00:30:43,440 Speaker 1: and sits on a large armchair. I saw you get 451 00:30:43,520 --> 00:30:45,920 Speaker 1: up and I saw you leave. Dylan says, did he 452 00:30:45,960 --> 00:30:50,640 Speaker 1: like it? I didn't know, comes Goldsmith's sharp reply, In fact, 453 00:30:50,920 --> 00:30:53,720 Speaker 1: I hated him. The rain starts to fall on the 454 00:30:53,760 --> 00:30:57,480 Speaker 1: sweets window pane. Dylan cracks a smile. You know, my 455 00:30:57,560 --> 00:31:00,080 Speaker 1: eyes set. It's really bad. I mean it's awful, but 456 00:31:00,240 --> 00:31:03,360 Speaker 1: among ten thousand people in the Wembley Arena, you were 457 00:31:03,360 --> 00:31:07,600 Speaker 1: the one I saw sneaking out halfway through. Goldsmith doesn't smile. 458 00:31:08,000 --> 00:31:11,000 Speaker 1: In fact, he's annoyed. He proceeds to explain to Dylan 459 00:31:11,080 --> 00:31:13,960 Speaker 1: that the UK was his biggest audience outside the States, 460 00:31:14,400 --> 00:31:17,600 Speaker 1: which many had to deliver high quality shows there. What 461 00:31:17,720 --> 00:31:22,920 Speaker 1: he played the night before was just crap, more silent, 462 00:31:23,160 --> 00:31:26,440 Speaker 1: more rain, that familiar London in the autumn pitter patter 463 00:31:26,520 --> 00:31:31,000 Speaker 1: sound on the window. Goldsmith waits for Dylan's reply, hoping 464 00:31:31,040 --> 00:31:34,760 Speaker 1: for a reaction. It didn't matter if it was anger, regret, disappointment. 465 00:31:35,000 --> 00:31:38,600 Speaker 1: He just wanted a reaction. Dylan gives him a reaction 466 00:31:38,640 --> 00:31:42,400 Speaker 1: all right, and laughs loudly. It's okay, Harvey, He shouts, 467 00:31:42,600 --> 00:31:45,960 Speaker 1: it's okay. Don't worry about the shows. I'm going to 468 00:31:46,040 --> 00:31:49,280 Speaker 1: the bar. You want to drink. Goldsmith pulls out his 469 00:31:49,320 --> 00:31:52,720 Speaker 1: invitation to the film premiere of Hearts of Fire, Dylan's 470 00:31:52,760 --> 00:31:54,960 Speaker 1: face front and center on it, flanked by the singer 471 00:31:55,000 --> 00:31:58,920 Speaker 1: Fiona an actor Rupert. Ever, Dylan's name is in large typeface. 472 00:31:59,720 --> 00:32:03,280 Speaker 1: Now it's Goldsmith's turned to laugh. He smiles, holding up 473 00:32:03,320 --> 00:32:07,400 Speaker 1: the invitation. Aren't you coming that? Dylan says, oh no, 474 00:32:07,840 --> 00:32:11,840 Speaker 1: I'm going to the bar. Forty five minutes later, Dylan 475 00:32:11,960 --> 00:32:14,440 Speaker 1: polishes off his third gin and tonic of the evening. 476 00:32:15,040 --> 00:32:17,640 Speaker 1: The muted lights in the Mayfair Hotel Bar make the 477 00:32:17,720 --> 00:32:22,400 Speaker 1: rain drops on its window twinkle. Inside the odeon marble arch, 478 00:32:22,640 --> 00:32:26,080 Speaker 1: Gerald Abrams said, slumped in his cinema chair, he knew 479 00:32:26,120 --> 00:32:29,240 Speaker 1: what he was watching was garbage. He knew it was 480 00:32:29,280 --> 00:32:32,520 Speaker 1: going to bomb, and maybe that's why Bob Dylan didn't show. 481 00:32:33,040 --> 00:32:35,040 Speaker 1: He looks up at the face on the huge seventy 482 00:32:35,120 --> 00:32:39,720 Speaker 1: ft screen. Dylan looks slender, tanned and healthy, a genuine 483 00:32:39,800 --> 00:32:43,040 Speaker 1: film star. But the face that looks into the glass 484 00:32:43,080 --> 00:32:46,000 Speaker 1: and the Mayfair Hotel bar is bloated. And red with 485 00:32:46,080 --> 00:32:50,200 Speaker 1: darkened eyes. It's exhausted from an endless life on the road, 486 00:32:50,280 --> 00:32:54,720 Speaker 1: and bare stresses that it's inhabitant doesn't care to show outside. 487 00:32:54,760 --> 00:32:58,440 Speaker 1: It starts to rain again. This time it's a hard rain. 488 00:32:58,960 --> 00:33:03,640 Speaker 1: It hammers down large drops splatter violently against the bars window. 489 00:33:04,200 --> 00:33:07,200 Speaker 1: Dylon continues to drink, and the splatter of the rain 490 00:33:07,320 --> 00:33:10,480 Speaker 1: gets harder and harder, louder and louder, and Dylan thinks 491 00:33:10,520 --> 00:33:14,240 Speaker 1: to himself, you know that sort of sounds like Blood 492 00:33:15,200 --> 00:33:32,520 Speaker 1: on the Tracks. Blood on the Tracks produced by Double 493 00:33:32,520 --> 00:33:35,960 Speaker 1: Elvis in partnership with I Heart Radio. It's hosted and 494 00:33:36,080 --> 00:33:40,160 Speaker 1: executive produced by me Jake Brennan, also executive produced by 495 00:33:40,160 --> 00:33:44,120 Speaker 1: Brady sath Zeth Lundi is lead editor and producer. This 496 00:33:44,160 --> 00:33:47,440 Speaker 1: episode was written by Ben Burrow, Story and copy editing 497 00:33:47,480 --> 00:33:51,000 Speaker 1: by Pat Healy. Mixing and sound designed by Colin Fleming. 498 00:33:51,440 --> 00:33:55,560 Speaker 1: Additional music and score elements by Ryan Spraaker. This episode 499 00:33:55,600 --> 00:33:59,360 Speaker 1: featured Chris Anzeloni is Bob Dylan. Sources for this episode 500 00:33:59,360 --> 00:34:01,960 Speaker 1: are available at double Elvis dot com on the Blood 501 00:34:01,960 --> 00:34:05,520 Speaker 1: in the Tracks series page. Follow Double Elvis on Instagram 502 00:34:05,560 --> 00:34:08,880 Speaker 1: at double Elvis and on Twitch at s Grace Slanta talks, 503 00:34:09,160 --> 00:34:11,560 Speaker 1: and you can talk to me per usual on Instagram 504 00:34:11,560 --> 00:34:20,200 Speaker 1: and Twitter at Disgrace Land Pond, Rock and Roll h 505 00:34:29,880 --> 00:34:30,480 Speaker 1: R Dad