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 --> 00:00:50,360 Speaker 1: This is his story. Good morning, this is Rhonda Mosson 11 00:00:50,440 --> 00:00:53,080 Speaker 1: back with you. It's been a couple of days since 12 00:00:53,120 --> 00:00:56,160 Speaker 1: my last update. I've been going in deep on these 13 00:00:56,200 --> 00:01:00,200 Speaker 1: Brian Wilson tapes. Sometimes you come across a classic song, 14 00:01:00,760 --> 00:01:02,600 Speaker 1: sometimes you come across a game they were playing in 15 00:01:02,640 --> 00:01:07,160 Speaker 1: the studio, and then sometimes you get something like this. 16 00:01:07,160 --> 00:01:10,400 Speaker 1: This is something we've not really hurt so far. This 17 00:01:10,440 --> 00:01:22,760 Speaker 1: tape has just labeled psychedelic sounds. Oh no, help, help, 18 00:01:23,720 --> 00:01:28,160 Speaker 1: I'm trapped. I'm stuck in the microphone. I'm trapped in here. 19 00:01:29,120 --> 00:01:36,080 Speaker 1: Van Dyke, help me, Vandyke. Oh, come on, man. Right now, 20 00:01:37,120 --> 00:01:41,760 Speaker 1: what's that? Don't use your name? Oh sorry, man, we're 21 00:01:41,800 --> 00:01:44,440 Speaker 1: just having fun. We got to keep the tape rolling. 22 00:01:44,640 --> 00:01:48,640 Speaker 1: Who knows where this will end up. Oh no, I'm 23 00:01:48,640 --> 00:01:52,600 Speaker 1: stuck again. I'm over here in the piano. Help me, 24 00:01:52,640 --> 00:01:56,120 Speaker 1: help me, Van Dyke, I mean help me, Anonymous man, 25 00:01:56,960 --> 00:02:02,960 Speaker 1: help me? Mr Lyricists. All right, I'm sorry man, Let's 26 00:02:02,960 --> 00:02:07,160 Speaker 1: get back to work. Okay, no more joking around it. 27 00:02:07,160 --> 00:02:09,200 Speaker 1: It's time to get on with this, time to get 28 00:02:09,200 --> 00:02:15,880 Speaker 1: this all down. We're rolling, see what I mean. Brian 29 00:02:15,919 --> 00:02:19,200 Speaker 1: seems a little bit more lighthearted on these particular tapes, 30 00:02:20,080 --> 00:02:23,400 Speaker 1: but it's not long before there's some blood on the tracks. 31 00:02:44,120 --> 00:03:03,680 Speaker 1: Chapter three, Brian Wilson is trapped. This story isn't mine. Well, 32 00:03:03,760 --> 00:03:06,120 Speaker 1: the first part isn't anyway. But I'll tell it to 33 00:03:06,160 --> 00:03:09,600 Speaker 1: you the best I can, because you need to hear it. 34 00:03:09,600 --> 00:03:12,600 Speaker 1: It begins with him speeding through Laurel Canyon, the part 35 00:03:12,680 --> 00:03:16,040 Speaker 1: where the road snakes up through the hills. It's late 36 00:03:16,080 --> 00:03:20,320 Speaker 1: and the lights twinkle in the valley. It's quiet. It's 37 00:03:20,320 --> 00:03:23,160 Speaker 1: always quiet round here. You're close to one of the 38 00:03:23,160 --> 00:03:25,600 Speaker 1: world's most famous cities, but you feel like you're in 39 00:03:25,639 --> 00:03:29,640 Speaker 1: the middle of nowhere. Especially at night. It feels like 40 00:03:29,680 --> 00:03:33,600 Speaker 1: anything can happen. He's on his Triumph Tiger and he's 41 00:03:33,600 --> 00:03:36,360 Speaker 1: gunning it. The road before him is as open as 42 00:03:36,360 --> 00:03:39,640 Speaker 1: his mind. He feels the excitement of change in the air. 43 00:03:39,920 --> 00:03:43,320 Speaker 1: It makes him go even faster. Out of the corner 44 00:03:43,320 --> 00:03:46,200 Speaker 1: of his eye he sees a red flash. It disappears 45 00:03:46,200 --> 00:03:49,520 Speaker 1: almost immediately, but then it comes back. Before he can 46 00:03:49,560 --> 00:03:54,880 Speaker 1: work out what it is, it reveals itself with a siren. Cops, Oh, 47 00:03:54,960 --> 00:04:00,840 Speaker 1: come on, man. The officer accelerates quickly and aggressively. The 48 00:04:00,880 --> 00:04:03,600 Speaker 1: man thinks he can shake Johnny Law takes the next 49 00:04:03,680 --> 00:04:06,680 Speaker 1: left abruptly, and the red light disappears to his right. 50 00:04:07,800 --> 00:04:11,200 Speaker 1: He's lost him. He pulls over and gets his bearings, 51 00:04:11,600 --> 00:04:13,960 Speaker 1: and then, in one quick movement, he pulls the pills 52 00:04:13,960 --> 00:04:15,880 Speaker 1: that he's been carrying in his pocket into his shoe, 53 00:04:16,839 --> 00:04:21,120 Speaker 1: just to be sure. Okay, no more joking around. When 54 00:04:21,160 --> 00:04:23,440 Speaker 1: he's back on the road, he starts to think about 55 00:04:23,440 --> 00:04:26,799 Speaker 1: what brought him to Laurel Canyon that day. Excitement grows 56 00:04:26,839 --> 00:04:30,560 Speaker 1: as he pumps the accelerator. He's flying now. Nothing can 57 00:04:30,600 --> 00:04:36,840 Speaker 1: stop him. Well, maybe something can stop him. He slows down, 58 00:04:38,320 --> 00:04:43,320 Speaker 1: blocking the road ahead as a motorbike. The cop from 59 00:04:43,360 --> 00:04:46,800 Speaker 1: before comes into view. He has no choice but to stop. 60 00:04:48,279 --> 00:04:52,480 Speaker 1: It feels like it's ages before the bike comes to rest. You, 61 00:04:52,640 --> 00:04:56,280 Speaker 1: the boy from before, the cop asks, sternly, before he's 62 00:04:56,279 --> 00:05:00,279 Speaker 1: even off his ride. Oh, come on, man, right now? Yeah, 63 00:05:01,520 --> 00:05:04,000 Speaker 1: I'm sorry. Did you want me to stop? Comes the 64 00:05:04,040 --> 00:05:09,240 Speaker 1: cool reply. The policeman senses the sarcasm in a disapproving 65 00:05:09,279 --> 00:05:13,200 Speaker 1: sort of way. He asks, your name, don't use your 66 00:05:13,240 --> 00:05:19,240 Speaker 1: name Van Dyke parks, sir. The man replies, like Mr. 67 00:05:19,400 --> 00:05:21,640 Speaker 1: Dick van Dyke, The officer asks, as he writes the 68 00:05:21,720 --> 00:05:28,360 Speaker 1: name down Vandyke. Yes, sir, but I'm not a Dick, sir, 69 00:05:29,960 --> 00:05:33,520 Speaker 1: he smiles. The officer misses the Van Dyke Parks joke, 70 00:05:33,800 --> 00:05:36,279 Speaker 1: instead choosing to note that he looked like a quote 71 00:05:36,320 --> 00:05:41,920 Speaker 1: unquote bum. The cop asks the man if he has 72 00:05:41,920 --> 00:05:44,760 Speaker 1: a driver's license, to which Van Dyke confesses that it's 73 00:05:44,800 --> 00:05:48,560 Speaker 1: not on his person. The cop walks around him slowly 74 00:05:48,880 --> 00:05:52,320 Speaker 1: right in the middle of the road. He studies Van 75 00:05:52,400 --> 00:05:55,960 Speaker 1: Dyke's long, unbrushed hair and messy beard. What's a guy 76 00:05:56,000 --> 00:06:00,000 Speaker 1: like you doing around Beverly Hills, Boy Van Dyke explained, 77 00:06:00,120 --> 00:06:03,000 Speaker 1: is that he's off to see a work associate. When 78 00:06:03,040 --> 00:06:05,159 Speaker 1: the officer asks him what his line of work is, 79 00:06:05,760 --> 00:06:10,360 Speaker 1: the reply that comes is storyteller. That's when the cop 80 00:06:10,440 --> 00:06:12,280 Speaker 1: places his right hand on the butt of his gun. 81 00:06:12,800 --> 00:06:16,880 Speaker 1: Oh sorry, man, we're just having fun here. All of 82 00:06:16,920 --> 00:06:20,640 Speaker 1: a sudden, the cops seems annoyed, angry even I don't 83 00:06:20,640 --> 00:06:23,640 Speaker 1: like your bullshit attitude. He says, without unclenching his teeth. 84 00:06:25,080 --> 00:06:28,200 Speaker 1: I'm going to ask you again, tell me properly. Where 85 00:06:28,240 --> 00:06:32,200 Speaker 1: are you heading tonight? Van Dyke states once again that 86 00:06:32,279 --> 00:06:35,599 Speaker 1: he's off to see a work associate. The cop pulls 87 00:06:35,640 --> 00:06:38,360 Speaker 1: the gun from its holster and raising it up quickly. 88 00:06:38,400 --> 00:06:40,840 Speaker 1: He asks Van Dyke if he has a hippie, if 89 00:06:40,839 --> 00:06:44,000 Speaker 1: he's a criminal, if he's got drugs on him? Oh no, 90 00:06:44,200 --> 00:06:49,560 Speaker 1: hell hell. Van Dyke could feel the pills in his shoe, 91 00:06:49,800 --> 00:06:55,320 Speaker 1: but he tries to forget them. No, he cries, and 92 00:06:55,360 --> 00:06:58,760 Speaker 1: then adds, I'm off to see Brian Wilson. We met 93 00:06:58,800 --> 00:07:00,599 Speaker 1: the other night and he wants me to work on 94 00:07:00,680 --> 00:07:05,120 Speaker 1: some songs. The cop freezes. He looks at the man 95 00:07:05,160 --> 00:07:08,040 Speaker 1: before him, and then he lowers his gun and looks 96 00:07:08,040 --> 00:07:12,800 Speaker 1: a few hundred yards up the road. Well, we'll see 97 00:07:12,840 --> 00:07:17,400 Speaker 1: what Mr Wilson has to say about that. That's when 98 00:07:17,400 --> 00:07:19,840 Speaker 1: I joined the action. I was sitting at home and 99 00:07:20,080 --> 00:07:22,720 Speaker 1: there was a hard knock at the door. I knew 100 00:07:22,760 --> 00:07:26,480 Speaker 1: it wasn't Van Dyke, who I had been expecting. Remember 101 00:07:26,520 --> 00:07:29,600 Speaker 1: what I said about vibrations. I could tell that the 102 00:07:29,600 --> 00:07:32,200 Speaker 1: person on the other side of the door wasn't him, 103 00:07:32,320 --> 00:07:37,240 Speaker 1: or at least he wasn't alone. It just felt off somehow, 104 00:07:38,000 --> 00:07:43,280 Speaker 1: no joking around. I opened the door and there was 105 00:07:43,280 --> 00:07:45,920 Speaker 1: a cops standing in front of me. Van Dyke was 106 00:07:45,960 --> 00:07:51,960 Speaker 1: to his left. Vandyke, do you know this man, Mr Wilson, 107 00:07:52,280 --> 00:07:55,960 Speaker 1: the cop asked, not even a hello. I sure do, 108 00:07:56,080 --> 00:08:00,320 Speaker 1: I said. The officer seemed a little disappointed, but there 109 00:08:00,400 --> 00:08:04,800 Speaker 1: was something else there too, disdain. He tried to hide 110 00:08:04,800 --> 00:08:06,640 Speaker 1: it when he looked at me, but I could tell 111 00:08:07,600 --> 00:08:10,040 Speaker 1: I can always see it. You can hide a lot 112 00:08:10,040 --> 00:08:16,280 Speaker 1: of things, but disdain that always drips through. Just checking. 113 00:08:16,320 --> 00:08:20,320 Speaker 1: The cops said, you can never be too careful. Van 114 00:08:20,400 --> 00:08:23,280 Speaker 1: Dyke stayed silent. He just walked up to me and 115 00:08:23,320 --> 00:08:27,000 Speaker 1: nodded before disappearing inside as quickly as he could. I 116 00:08:27,040 --> 00:08:29,120 Speaker 1: said good night to the cop, but I knew we 117 00:08:29,120 --> 00:08:32,920 Speaker 1: weren't done with people like that. They always want a 118 00:08:32,920 --> 00:08:36,160 Speaker 1: little more, a little more control, and who knows where 119 00:08:36,200 --> 00:08:41,400 Speaker 1: this will end up. Your friend, he didn't have a 120 00:08:41,440 --> 00:08:45,680 Speaker 1: license on him, he said, his tone darkened. That's so, 121 00:08:45,920 --> 00:08:51,240 Speaker 1: I replied, Oh, come on, man, right now, he explained, 122 00:08:51,240 --> 00:08:56,040 Speaker 1: he'd have to call it in unless, believe me, I 123 00:08:56,120 --> 00:08:59,000 Speaker 1: knew what was coming. That's the one thing I've noticed 124 00:08:59,080 --> 00:09:01,880 Speaker 1: right from the start. People are always on the take, 125 00:09:02,400 --> 00:09:08,920 Speaker 1: that always want something unless, I repeated, Oh no, hell 126 00:09:10,600 --> 00:09:14,199 Speaker 1: my sister, the cops said quietly. She's just the biggest 127 00:09:14,200 --> 00:09:17,920 Speaker 1: fan of yours. Do you have something I can just 128 00:09:18,000 --> 00:09:20,920 Speaker 1: to smooth this all over. I really don't want to 129 00:09:20,920 --> 00:09:26,000 Speaker 1: call this in. I grabbed an autographed copy of Summer 130 00:09:26,080 --> 00:09:28,760 Speaker 1: Days and Summer Nights and politely handed it to the officer. 131 00:09:29,760 --> 00:09:32,480 Speaker 1: Give my regards to your sister, I said, before closing 132 00:09:32,480 --> 00:09:34,600 Speaker 1: the door firmly enough to let him know I didn't 133 00:09:34,600 --> 00:09:36,880 Speaker 1: ever want to see him again. It's time to get 134 00:09:36,880 --> 00:09:41,360 Speaker 1: out of this. I came through to the back of 135 00:09:41,400 --> 00:09:45,600 Speaker 1: the house where Van Dyke was sitting looking shocked. You know, 136 00:09:45,800 --> 00:09:48,520 Speaker 1: I began, it was kind of perfect that we met 137 00:09:48,600 --> 00:09:52,079 Speaker 1: Johnny law tonight. I want to work on something, a track. 138 00:09:52,440 --> 00:09:57,000 Speaker 1: It's called Heroes and villains. Maybe we can dedicate it 139 00:09:57,040 --> 00:10:00,360 Speaker 1: to our cherry top. Van Dyke looked, did me and 140 00:10:00,400 --> 00:10:33,240 Speaker 1: beamed one on five point four b R I A 141 00:10:33,520 --> 00:10:38,440 Speaker 1: n F M. We're still broadcasting, and don't you forget it. 142 00:10:39,200 --> 00:10:43,560 Speaker 1: There are reports this morning of high pressure, high high pressure. 143 00:10:44,240 --> 00:10:50,840 Speaker 1: Stay safe out there, have a great day. Van Dyke 144 00:10:50,880 --> 00:10:53,800 Speaker 1: Parks was a big part of our album Smile. He'd 145 00:10:53,840 --> 00:10:56,040 Speaker 1: go on to have a pretty interesting solo career too. 146 00:10:56,760 --> 00:11:02,560 Speaker 1: He worked on the Bare Necessities Classic. He was quickly 147 00:11:02,559 --> 00:11:05,360 Speaker 1: gaining a reputation in l A as a great songwriter, 148 00:11:05,880 --> 00:11:09,000 Speaker 1: a different kind of songwriter. He came on board just 149 00:11:09,040 --> 00:11:12,000 Speaker 1: as quickly for Smile. I kint him a check for 150 00:11:12,080 --> 00:11:14,160 Speaker 1: five thousand dollars the night he came to my house. 151 00:11:14,640 --> 00:11:16,120 Speaker 1: That same night he had to run in with the 152 00:11:16,160 --> 00:11:20,720 Speaker 1: cop help me, Van Dyke. He told me he wanted 153 00:11:20,720 --> 00:11:23,040 Speaker 1: to get a car, so that was my down payment 154 00:11:23,080 --> 00:11:28,120 Speaker 1: to him. He got a Volvo, a Volvo. He told 155 00:11:28,160 --> 00:11:30,600 Speaker 1: me he wanted it because of his safety rating. I 156 00:11:30,600 --> 00:11:34,240 Speaker 1: guess rock and roll, isn't it help me? Anonymous man? 157 00:11:36,800 --> 00:11:39,560 Speaker 1: We pretty much wrote heroes and villains that night. It 158 00:11:39,679 --> 00:11:42,800 Speaker 1: was real quick. I could feel the energy and the creativity. 159 00:11:43,720 --> 00:11:48,120 Speaker 1: It impressed me. Van Dyke brought words to my songs 160 00:11:48,160 --> 00:11:51,040 Speaker 1: that matched the ambition of the music. I needed that 161 00:11:52,000 --> 00:11:55,360 Speaker 1: these complex songs needed themes and ideas that were complex too. 162 00:11:59,559 --> 00:12:02,200 Speaker 1: I liked what I had achieved on good Vibrations, and 163 00:12:02,240 --> 00:12:04,680 Speaker 1: I wanted to do that more, but move on it 164 00:12:04,760 --> 00:12:08,800 Speaker 1: even further. I continued that modular approach in the studio. 165 00:12:09,520 --> 00:12:14,360 Speaker 1: Each song had sections like movements pop symphonics, I called them. 166 00:12:14,400 --> 00:12:19,040 Speaker 1: I was excited about one song in particular, Cabanescence. Van 167 00:12:19,080 --> 00:12:21,880 Speaker 1: Dyke wrote some beautiful verses for that. It began with 168 00:12:21,920 --> 00:12:24,720 Speaker 1: a section called Home on the Range, which featured a 169 00:12:24,720 --> 00:12:28,000 Speaker 1: gentle banjo flute kind of sound, and then we moved 170 00:12:28,000 --> 00:12:31,440 Speaker 1: to a part called who Ran the Iron Horse, which 171 00:12:31,520 --> 00:12:35,080 Speaker 1: was like a tidal wave of sound. Then we finished 172 00:12:35,080 --> 00:12:38,520 Speaker 1: with a section called grand Coolie Damn, where that tidal 173 00:12:38,600 --> 00:12:43,280 Speaker 1: wave turns into a swirling whirlpool. I was proud of 174 00:12:43,320 --> 00:12:46,719 Speaker 1: the music, no doubt, but I was as proud, no 175 00:12:47,200 --> 00:12:50,839 Speaker 1: as impressed with Van Dyke's words. I felt like we 176 00:12:50,920 --> 00:12:54,760 Speaker 1: really had something, But all my excitement seemed to disappear 177 00:12:54,760 --> 00:12:57,760 Speaker 1: in the studio. I don't know what it was about 178 00:12:57,760 --> 00:13:00,720 Speaker 1: those Smile sessions, but they had a bit of opening 179 00:13:00,720 --> 00:13:04,280 Speaker 1: black holes where everything was sucked in. When it came 180 00:13:04,320 --> 00:13:07,760 Speaker 1: to recording Cabinescence, we had a repeat of what happened 181 00:13:07,800 --> 00:13:15,760 Speaker 1: in the studio during pet Sounds. Different album, different songs, 182 00:13:16,679 --> 00:13:25,079 Speaker 1: different lyricists, same problems. What does that tell you? It 183 00:13:25,240 --> 00:13:30,920 Speaker 1: was Mike Love of course, Okay, no more joke. When 184 00:13:30,960 --> 00:13:32,800 Speaker 1: we were all in the studio to cut the vocals, 185 00:13:33,240 --> 00:13:35,439 Speaker 1: he was once again standing in front of the microphone 186 00:13:35,480 --> 00:13:40,880 Speaker 1: reading them through. I'm stuck in the microphone. I thought 187 00:13:40,880 --> 00:13:43,079 Speaker 1: our work together on Good Vibrations would have meant this 188 00:13:43,160 --> 00:13:47,600 Speaker 1: sort of thing wouldn't happen again. But I was wrong. Actually, 189 00:13:47,720 --> 00:13:50,400 Speaker 1: maybe it was our work on that song that perpetuated this. 190 00:13:52,400 --> 00:13:54,719 Speaker 1: Maybe Mike felt like we've done something great as a 191 00:13:54,800 --> 00:13:57,880 Speaker 1: pair on that song, and after I had just gone 192 00:13:57,880 --> 00:13:59,840 Speaker 1: off and found someone else to work with while he 193 00:13:59,920 --> 00:14:04,760 Speaker 1: was busy touring. Maybe that's it. Actually, that sounds like 194 00:14:04,800 --> 00:14:07,520 Speaker 1: a good theory, because he directed as much anger at 195 00:14:07,559 --> 00:14:10,520 Speaker 1: Van Dyke Parks as he did to me. He was 196 00:14:10,600 --> 00:14:13,720 Speaker 1: muttering under his breath as he read the lines Uncover 197 00:14:13,800 --> 00:14:19,480 Speaker 1: the Cornfield. However, the wheat I could tell he was 198 00:14:19,520 --> 00:14:22,360 Speaker 1: about to go off. Can anyone tell me what the 199 00:14:22,400 --> 00:14:25,800 Speaker 1: fun this means, he shouted, It was a genuine question. 200 00:14:26,920 --> 00:14:31,440 Speaker 1: We were all silent. It was so uncomfortable. God, it 201 00:14:31,520 --> 00:14:35,880 Speaker 1: seemed to last forever. My brother Dennis looked at me 202 00:14:35,920 --> 00:14:37,920 Speaker 1: in a kind of hopeless way. Let's get back to 203 00:14:40,920 --> 00:14:43,400 Speaker 1: Only minutes before, he had given me a glowing review 204 00:14:43,440 --> 00:14:46,840 Speaker 1: of Van Dyke's work on the songs he loved Heroes 205 00:14:46,840 --> 00:14:49,360 Speaker 1: and Villains, as well as another song called surfs Up 206 00:14:49,920 --> 00:14:54,520 Speaker 1: favorite of mine too. I hoped Mike might like that one, 207 00:14:54,520 --> 00:14:56,640 Speaker 1: at least, as it sounded a little more like the 208 00:14:56,680 --> 00:15:00,240 Speaker 1: old Beach Boys in its lyrical form. But alas I 209 00:15:00,320 --> 00:15:04,360 Speaker 1: was wrong. Carl excused himself from the room, sensing we're 210 00:15:04,400 --> 00:15:07,320 Speaker 1: about to have another shooting match, and Al followed him 211 00:15:07,320 --> 00:15:12,000 Speaker 1: out without a word. It was down to me, well, 212 00:15:12,040 --> 00:15:15,000 Speaker 1: I said, we could ask the author of the material 213 00:15:15,080 --> 00:15:20,120 Speaker 1: if you'd like Mike's side. Yes, yes, let's get the 214 00:15:20,120 --> 00:15:25,560 Speaker 1: author of the material, shall we, he said sarcastically. Man, 215 00:15:27,360 --> 00:15:29,880 Speaker 1: So I went and grabbed Van Dyke for his interrogation. 216 00:15:30,800 --> 00:15:37,240 Speaker 1: Almost instantly, Mike was towering over Van Dyke screaming at him. 217 00:15:37,280 --> 00:15:40,640 Speaker 1: You're not hearing me, he was yelling, just tell me 218 00:15:40,720 --> 00:15:44,880 Speaker 1: what the hell it means. That's all. As I stood 219 00:15:44,880 --> 00:15:47,640 Speaker 1: watching them both, I couldn't believe that Mike was even 220 00:15:47,720 --> 00:15:52,360 Speaker 1: more annoyed than when we'd had this argument. Van Dyke 221 00:15:52,440 --> 00:15:55,880 Speaker 1: as a guy, was kind of small, well smaller than 222 00:15:55,920 --> 00:16:00,000 Speaker 1: Mike anyway. I think Mike felt like he could dominate him. 223 00:16:00,000 --> 00:16:03,840 Speaker 1: But you know, Van Dyke held his own. If you're 224 00:16:03,840 --> 00:16:07,160 Speaker 1: looking for a literal explanation of that line, of any 225 00:16:07,240 --> 00:16:10,680 Speaker 1: line of verse, I don't have it, He explained, what's that? 226 00:16:12,880 --> 00:16:16,280 Speaker 1: He don't know what it means. Mike laft, you wrote 227 00:16:16,320 --> 00:16:19,960 Speaker 1: it and you don't know what it means. Fuck, we're 228 00:16:19,960 --> 00:16:24,080 Speaker 1: all doomed, doomed, We're singing nonsense to each other over 229 00:16:24,120 --> 00:16:26,720 Speaker 1: some whacked out music. This is what it's come to. 230 00:16:28,120 --> 00:16:30,760 Speaker 1: I have no excuse, because I don't need one. Van 231 00:16:30,840 --> 00:16:35,320 Speaker 1: Dyke said, good for you. I thought. Mike shouted something 232 00:16:35,320 --> 00:16:39,000 Speaker 1: about being pretentious and an acid head. Van Dyke just 233 00:16:39,040 --> 00:16:46,600 Speaker 1: stood there, looking not particularly interested. Okay, when he realized 234 00:16:46,600 --> 00:16:49,600 Speaker 1: his protests weren't going to get him anywhere, Mike stopped. 235 00:16:50,440 --> 00:16:54,840 Speaker 1: Something changed in his face. Look, he said, just because 236 00:16:54,840 --> 00:16:57,560 Speaker 1: I don't understand them doesn't mean I don't like them. 237 00:16:57,600 --> 00:17:00,320 Speaker 1: I just think we should be writing more boy girls. Songs, 238 00:17:00,720 --> 00:17:05,119 Speaker 1: songs connected to people without hesitation. Van Dyke turned on 239 00:17:05,160 --> 00:17:07,160 Speaker 1: his heels and walked straight past me out the door. 240 00:17:09,760 --> 00:17:12,080 Speaker 1: He climbed into that vovo he bought with the five 241 00:17:12,160 --> 00:17:16,520 Speaker 1: grand I gave him help me. I didn't see him 242 00:17:16,560 --> 00:17:22,400 Speaker 1: again for months. I hope you're happy, I yelled at Mike. 243 00:17:22,760 --> 00:17:26,439 Speaker 1: What are we gonna do now? Will sing some songs? 244 00:17:26,480 --> 00:17:30,359 Speaker 1: That makes sense, he replied. I told him to smarten up, 245 00:17:30,359 --> 00:17:33,480 Speaker 1: and I marched into the control room. Next time I 246 00:17:33,520 --> 00:17:35,760 Speaker 1: stood opposite Mike. Love in the studio was a couple 247 00:17:35,760 --> 00:17:37,840 Speaker 1: of weeks later, when we were cutting the vocals for 248 00:17:37,920 --> 00:17:41,040 Speaker 1: Heroes and Villains. It was supposed to be our next single, 249 00:17:42,119 --> 00:17:45,720 Speaker 1: the song that would launch Smile, but it actually ended 250 00:17:45,800 --> 00:17:53,280 Speaker 1: up becoming the song that would derail it. We'll be 251 00:17:53,440 --> 00:18:04,760 Speaker 1: right back after this word word good morning. This is 252 00:18:04,800 --> 00:18:07,360 Speaker 1: one or four point five b R I A N 253 00:18:07,400 --> 00:18:12,040 Speaker 1: F M or anxiety less songs. We're sticking strictly to 254 00:18:12,080 --> 00:18:15,280 Speaker 1: a playlist. No new material here, said, don't even try. 255 00:18:15,320 --> 00:18:20,520 Speaker 1: Don't even try to even Van Dyke came back. Of 256 00:18:20,520 --> 00:18:23,560 Speaker 1: course he did, but it wasn't the same. It was 257 00:18:23,600 --> 00:18:26,760 Speaker 1: the beginning of the end, and then after the end. 258 00:18:27,000 --> 00:18:33,880 Speaker 1: There was nothingness, just nothingness, but that was all still 259 00:18:33,880 --> 00:18:38,120 Speaker 1: a ways off at this point. Thankfully it took so 260 00:18:38,160 --> 00:18:41,320 Speaker 1: long to get heroes and Villains right. I was trying 261 00:18:41,359 --> 00:18:43,840 Speaker 1: to decide what version we should go with, as there 262 00:18:43,880 --> 00:18:47,679 Speaker 1: were a few, a three minute cut, six minute version, 263 00:18:48,400 --> 00:18:51,760 Speaker 1: one that ran for nine minutes. There was even an 264 00:18:51,760 --> 00:18:56,639 Speaker 1: eleven minute epic. I think it's all a bit hazy 265 00:18:56,680 --> 00:19:02,080 Speaker 1: around that time, a bit hazy, but I'm sure I 266 00:19:02,160 --> 00:19:06,159 Speaker 1: remember that being somewhere after that. All we had to 267 00:19:06,160 --> 00:19:08,800 Speaker 1: do is release it. But like I said, it was 268 00:19:08,800 --> 00:19:11,960 Speaker 1: our next single, and after the success of Good Vibrations, 269 00:19:12,160 --> 00:19:14,200 Speaker 1: I knew we had to release it at the right time. 270 00:19:14,680 --> 00:19:18,720 Speaker 1: It had to be right. If it wasn't right, if 271 00:19:18,760 --> 00:19:23,480 Speaker 1: it wasn't perfect, well, the pressure would come back, and 272 00:19:23,520 --> 00:19:26,360 Speaker 1: I couldn't stand that. You don't want to fall up 273 00:19:26,359 --> 00:19:29,920 Speaker 1: on your hands, Brian. You know I released You've Lost 274 00:19:29,960 --> 00:19:33,080 Speaker 1: that Love and feeling and unchained Melody with the Righteous 275 00:19:33,080 --> 00:19:38,280 Speaker 1: Brothers in that same year, the same year. It's almost 276 00:19:38,320 --> 00:19:43,879 Speaker 1: taken you a year to record yours yours, Briant, HiT's 277 00:19:43,920 --> 00:19:47,040 Speaker 1: our money. You're not going to make your old dad penniless, 278 00:19:47,080 --> 00:19:54,160 Speaker 1: are you? Come on? Brian, release the song. The pressure 279 00:19:54,240 --> 00:19:56,840 Speaker 1: was getting to me. I'll admit that it was a 280 00:19:56,840 --> 00:20:01,040 Speaker 1: crucial time for Smile, crucial time for me, crucial for 281 00:20:01,080 --> 00:20:05,600 Speaker 1: the beach boys. It had to be perfect. The moment 282 00:20:05,640 --> 00:20:07,520 Speaker 1: came when we were all at my place one night. 283 00:20:08,080 --> 00:20:12,080 Speaker 1: We were sitting around smoking. It was late. Arnie Geller 284 00:20:12,160 --> 00:20:15,400 Speaker 1: was there, so was Dennis and the record producer Terry Melcher. 285 00:20:16,280 --> 00:20:19,119 Speaker 1: There was a loud knock at the door. I stared 286 00:20:19,160 --> 00:20:22,159 Speaker 1: at it for a second. I could feel the bad news. 287 00:20:23,080 --> 00:20:30,240 Speaker 1: It was the vibrations again, cops, my dad Mike, wanting 288 00:20:30,240 --> 00:20:33,320 Speaker 1: to go another round. I didn't know what it was, 289 00:20:33,400 --> 00:20:37,200 Speaker 1: but I didn't like it. I walked slowly over the door. 290 00:20:38,280 --> 00:20:41,840 Speaker 1: I stopped and took a breath. You can't be afraid 291 00:20:41,880 --> 00:20:46,040 Speaker 1: of everything, Brian, I said to myself. I grabbed the handle, 292 00:20:46,640 --> 00:20:52,520 Speaker 1: thrust it downwards and prayed for what was behind it relief. 293 00:20:53,440 --> 00:20:58,000 Speaker 1: It was Genevelyn, my astrologer. I had known Genevelyn for 294 00:20:58,080 --> 00:21:00,520 Speaker 1: a while. She was a real trust that voice for 295 00:21:00,560 --> 00:21:03,560 Speaker 1: me at that time. I threw my arms around her. 296 00:21:04,080 --> 00:21:06,080 Speaker 1: I told her I was picking up on something bad. 297 00:21:06,960 --> 00:21:10,480 Speaker 1: I told her I was worried. You're right to be worried, 298 00:21:10,520 --> 00:21:14,199 Speaker 1: she told me, it's time, Brian. Now we have to 299 00:21:14,200 --> 00:21:19,520 Speaker 1: do it now. Now, wasn't it too early? What would 300 00:21:19,520 --> 00:21:23,720 Speaker 1: the record company say? Forget them? She said, it's time. 301 00:21:24,640 --> 00:21:26,600 Speaker 1: I can feel it. It's time to get on with us. 302 00:21:29,000 --> 00:21:32,080 Speaker 1: I was dazed, like I had just taken a hit. 303 00:21:34,160 --> 00:21:37,160 Speaker 1: I knew Genevelyn was always right, and I didn't question her, 304 00:21:37,600 --> 00:21:42,600 Speaker 1: not even for a second. But something wasn't right. I 305 00:21:42,600 --> 00:21:46,920 Speaker 1: ignored that feeling. We need a radio station, I said 306 00:21:46,960 --> 00:21:51,399 Speaker 1: to the room, time to get this all down. Genevelyn 307 00:21:51,400 --> 00:21:53,800 Speaker 1: said we should head to one right away. After I 308 00:21:53,840 --> 00:21:56,960 Speaker 1: had cut her a check. She got little bonuses like 309 00:21:57,040 --> 00:22:00,840 Speaker 1: that for moments of clarity. That's what we all them, 310 00:22:01,080 --> 00:22:03,280 Speaker 1: moments where she would give me advice that I didn't 311 00:22:03,320 --> 00:22:06,679 Speaker 1: know I needed it. I ran up the large curved 312 00:22:06,720 --> 00:22:10,040 Speaker 1: staircase and went into my room. I saw it sitting 313 00:22:10,080 --> 00:22:12,520 Speaker 1: there in the same spot it had been in for 314 00:22:12,560 --> 00:22:17,680 Speaker 1: almost a month now. It was on a table by itself, 315 00:22:18,080 --> 00:22:21,680 Speaker 1: directly under a light. Like the Crown jewels, it might 316 00:22:21,680 --> 00:22:25,399 Speaker 1: as well have been behind glass. Before I picked it up, 317 00:22:25,960 --> 00:22:29,960 Speaker 1: I just stared at it. The deep black, shiny surface, 318 00:22:30,760 --> 00:22:37,040 Speaker 1: crisp white cover, no art whatsoever, just blank. It looked 319 00:22:37,080 --> 00:22:42,359 Speaker 1: hopeful possibilities were endless. I picked it up and flipped 320 00:22:42,359 --> 00:22:44,480 Speaker 1: it over, and there were the words on the back 321 00:22:45,480 --> 00:22:48,920 Speaker 1: Heroes and Villains, test pressing which time to get on 322 00:22:49,040 --> 00:22:56,879 Speaker 1: with this? I almost salivated with excitement. I ran downstairs 323 00:22:56,920 --> 00:23:00,080 Speaker 1: as everyone was already getting into the limos. Did I 324 00:23:00,080 --> 00:23:02,399 Speaker 1: ever asked where to and I told him K H 325 00:23:02,520 --> 00:23:06,560 Speaker 1: J A M. The excitement was palpable in the limo 326 00:23:06,640 --> 00:23:09,919 Speaker 1: as we raced down Hollywood Boulevard. At one point we 327 00:23:10,000 --> 00:23:12,840 Speaker 1: passed Pickwick Books and I heard the notes of California 328 00:23:12,920 --> 00:23:17,600 Speaker 1: girls buzz in my ears. I rubbed them quickly with irritation. 329 00:23:18,040 --> 00:23:23,840 Speaker 1: Oh no, hell, you okay, Dennis asked me. I told 330 00:23:23,920 --> 00:23:27,320 Speaker 1: him I was fine, which was a lie. Trying to 331 00:23:27,359 --> 00:23:30,199 Speaker 1: forget it, I wound the window down and stuck my 332 00:23:30,280 --> 00:23:33,240 Speaker 1: head out. I felt the wind rushed through my hair 333 00:23:33,320 --> 00:23:36,400 Speaker 1: and heard the din of the city. But I also 334 00:23:36,440 --> 00:23:41,440 Speaker 1: heard something else, a very low, buzzing sound. I pretended 335 00:23:41,480 --> 00:23:43,480 Speaker 1: it was because I had just rubbed my ears, but 336 00:23:44,040 --> 00:23:47,920 Speaker 1: I knew what it was. It was the same thing 337 00:23:47,960 --> 00:23:50,919 Speaker 1: I had heard on that canceled good vibration session, the 338 00:23:50,960 --> 00:23:52,640 Speaker 1: same thing I'd heard when I was trying to burn 339 00:23:52,720 --> 00:23:56,840 Speaker 1: the fire tapes. It was not good. All of a 340 00:23:56,880 --> 00:23:59,399 Speaker 1: sudden we were at k h J A M. This 341 00:23:59,600 --> 00:24:01,879 Speaker 1: is one of five point four b R I A 342 00:24:02,280 --> 00:24:05,520 Speaker 1: n f L taking over k h J A M 343 00:24:05,680 --> 00:24:10,040 Speaker 1: and blowing your mind. The guard at the front desk 344 00:24:10,119 --> 00:24:13,360 Speaker 1: took one look at me and grinned, you're welcome anytime, 345 00:24:13,440 --> 00:24:17,600 Speaker 1: Mr Wilson. Soon we were all marching down the corridor 346 00:24:17,680 --> 00:24:21,440 Speaker 1: like an invading army conquering a city. We were shouting, singing, 347 00:24:21,440 --> 00:24:23,560 Speaker 1: and banging on the walls as we went. We're just 348 00:24:23,600 --> 00:24:27,919 Speaker 1: having a fun here. We found our way to the 349 00:24:27,920 --> 00:24:31,720 Speaker 1: main studio and I hammered on the glass. We gave 350 00:24:31,760 --> 00:24:35,280 Speaker 1: the overnight DJ quite the shock. Tom Mall that was 351 00:24:35,359 --> 00:24:37,840 Speaker 1: his name. I'll never forget his name or the way 352 00:24:37,880 --> 00:24:41,640 Speaker 1: he looked at us when we arrived. I burst into 353 00:24:41,680 --> 00:24:45,280 Speaker 1: the studio. Hi, I'm Brian Wilson. It's your lucky day. 354 00:24:46,320 --> 00:24:49,840 Speaker 1: He looks shocked. He couldn't even speak. Here's the new 355 00:24:49,880 --> 00:24:52,080 Speaker 1: Beach Boys single, I told him, and I'd like to 356 00:24:52,080 --> 00:24:54,959 Speaker 1: give you and k h J and exclusive on it. 357 00:24:55,800 --> 00:24:58,000 Speaker 1: I didn't want to beat around the bush. I wanted 358 00:24:58,000 --> 00:24:59,679 Speaker 1: to get this thing on the air as soon as 359 00:24:59,680 --> 00:25:07,359 Speaker 1: poss like Jenevelyn said the time was right, okay. He 360 00:25:07,480 --> 00:25:10,080 Speaker 1: sort of stalled and then said he'd have to check 361 00:25:10,160 --> 00:25:13,920 Speaker 1: with his boss. Your boss, I yelled, this is the 362 00:25:13,960 --> 00:25:16,520 Speaker 1: follow up to Good Vibrations, Man, one of the most 363 00:25:16,560 --> 00:25:20,160 Speaker 1: important popular music songs of the last decade. This has 364 00:25:20,200 --> 00:25:22,960 Speaker 1: taken a year of work to create. You don't need 365 00:25:23,000 --> 00:25:29,880 Speaker 1: your boss, you just need to play it. He apologized 366 00:25:29,880 --> 00:25:31,919 Speaker 1: and told me he could call the station controller for 367 00:25:31,960 --> 00:25:36,479 Speaker 1: guidance whatever. I told him, just just do it. I 368 00:25:36,560 --> 00:25:40,320 Speaker 1: was stammering. I started to feel sick. I thought we'd 369 00:25:40,320 --> 00:25:44,080 Speaker 1: missed the right time. I stood in that damn studio 370 00:25:44,119 --> 00:25:46,479 Speaker 1: and watched Tom Maull make a call to his boss. 371 00:25:47,280 --> 00:25:49,600 Speaker 1: I felt that low buzz rise and rise in my 372 00:25:49,680 --> 00:25:54,200 Speaker 1: ears again. I couldn't believe it. The Beach Boys were 373 00:25:54,240 --> 00:25:56,159 Speaker 1: one of the biggest groups of the moment, and we 374 00:25:56,160 --> 00:25:59,600 Speaker 1: were making music to rival everyone, even the Beatles. I'd 375 00:25:59,600 --> 00:26:02,600 Speaker 1: spent so along perfecting every last second of this, and 376 00:26:02,640 --> 00:26:05,080 Speaker 1: we wouldn't even get it played by some overnight DJ. 377 00:26:05,640 --> 00:26:09,959 Speaker 1: Oh come on, man. My mind raced while the buzzing 378 00:26:09,960 --> 00:26:14,560 Speaker 1: got louder and louder. Maul was talking so quickly into 379 00:26:14,600 --> 00:26:18,600 Speaker 1: the studio's phone receiver. I couldn't take my eyes off him. 380 00:26:18,600 --> 00:26:21,000 Speaker 1: It's not on the playlist, he was saying. And I 381 00:26:21,080 --> 00:26:23,520 Speaker 1: heard the station controller scream from the other end of 382 00:26:23,600 --> 00:26:27,840 Speaker 1: the phone. Just play at you, idiot. That was the 383 00:26:27,920 --> 00:26:31,560 Speaker 1: last thing I heard. Idiot was drowned out by the 384 00:26:31,600 --> 00:26:34,920 Speaker 1: buzzing in my ears. It completely took over my head. 385 00:26:36,000 --> 00:26:38,560 Speaker 1: My eyes began to close, and my legs felt weak. 386 00:26:39,320 --> 00:26:42,200 Speaker 1: I stumbled and then fell into a rack of seven 387 00:26:42,280 --> 00:26:47,200 Speaker 1: inch singles, still clutching mine. As I hit the floor, 388 00:26:47,440 --> 00:26:50,720 Speaker 1: all I could see was Phil Spector's face. He was 389 00:26:50,800 --> 00:27:21,280 Speaker 1: laughing at me. Brian Wilson sits alone in his bel 390 00:27:21,359 --> 00:27:24,800 Speaker 1: Air mansion. The lights are off and the TV set 391 00:27:24,880 --> 00:27:28,600 Speaker 1: plays static. He stares at it, the snow like gray 392 00:27:28,640 --> 00:27:33,000 Speaker 1: color lighting his face and accentuating his tired eyes. In 393 00:27:33,080 --> 00:27:36,159 Speaker 1: his right hand as a phone receiver. The voice on 394 00:27:36,200 --> 00:27:39,879 Speaker 1: the other end is that of his astrologer, Genevelyn. She 395 00:27:40,000 --> 00:27:44,280 Speaker 1: informs her client it is not time. Brian slams the 396 00:27:44,280 --> 00:27:47,040 Speaker 1: phone down on the receiver. When is it going to 397 00:27:47,080 --> 00:27:50,480 Speaker 1: be time? He stands up and brings the seven inch 398 00:27:50,560 --> 00:27:53,800 Speaker 1: test pressing of the Beach Boys unreleased new single Heroes 399 00:27:53,840 --> 00:27:58,720 Speaker 1: and Villains back to his bedroom for safe keeping. In 400 00:27:58,760 --> 00:28:01,119 Speaker 1: a week's time, he'll dry if to the radio station 401 00:28:01,320 --> 00:28:04,240 Speaker 1: kh J a M and present his latest work to 402 00:28:04,280 --> 00:28:07,040 Speaker 1: the world. In the same month, the single will be 403 00:28:07,080 --> 00:28:10,880 Speaker 1: deemed to flop in comparison to his previous hit Good Vibrations, 404 00:28:11,560 --> 00:28:14,760 Speaker 1: But at least for tonight, Brian Wilson has other things 405 00:28:14,760 --> 00:28:18,840 Speaker 1: on his mind. He's been putting something off. Tonight it 406 00:28:18,960 --> 00:28:21,760 Speaker 1: has to happen. He walks to the kitchen, where he 407 00:28:21,800 --> 00:28:26,040 Speaker 1: sees a large brown parcel inside or some tapes. Tapes 408 00:28:26,080 --> 00:28:28,760 Speaker 1: have been ruling Brian's life for a while now. But 409 00:28:28,880 --> 00:28:32,680 Speaker 1: these tapes, they're not Beach Boys tapes. There's something else. 410 00:28:33,680 --> 00:28:36,280 Speaker 1: He pulls open the parcel and tips the contents onto 411 00:28:36,320 --> 00:28:40,280 Speaker 1: his counter. He reads the label Monterey International Pop Festival. 412 00:28:43,520 --> 00:28:46,240 Speaker 1: The buzzing returns to Brian's ears as he carries the 413 00:28:46,280 --> 00:28:48,880 Speaker 1: tapes to the studio he accustomed built in his home. 414 00:28:49,520 --> 00:28:53,080 Speaker 1: Once inside, he draws a deep breath as he presses play. 415 00:28:53,960 --> 00:28:56,760 Speaker 1: Monterey Pop was where the Beach Boys planned to present 416 00:28:56,880 --> 00:29:00,440 Speaker 1: Smile to the world, but only two weeks before the festival, 417 00:29:00,600 --> 00:29:04,040 Speaker 1: the band pulled out. Brian had replayed in his head 418 00:29:04,080 --> 00:29:06,600 Speaker 1: the phone call that he had with Derek Taylor, the 419 00:29:06,640 --> 00:29:10,880 Speaker 1: Beatles press officer and Monterey Pop's organizer, so many times 420 00:29:10,920 --> 00:29:14,120 Speaker 1: since it had happened some nights when he couldn't sleep 421 00:29:14,400 --> 00:29:16,920 Speaker 1: and he'd given up on his songs, he actually re 422 00:29:17,120 --> 00:29:21,120 Speaker 1: enacted the conversation to addict the phone. We can't play, 423 00:29:21,200 --> 00:29:26,000 Speaker 1: he told Derek Jesus Brian, why not. Brian rambled on 424 00:29:26,160 --> 00:29:29,719 Speaker 1: about releasing Heroes and Villains, about how the Smile album 425 00:29:29,760 --> 00:29:32,520 Speaker 1: was beyond repair, about how the band needed to think 426 00:29:32,560 --> 00:29:35,400 Speaker 1: about what was next, and he was exhausted and it 427 00:29:35,560 --> 00:29:39,120 Speaker 1: was just too much going on. Is that all? Derek asked. 428 00:29:39,600 --> 00:29:43,000 Speaker 1: Brian paused in his mind. He saw the yellow and 429 00:29:43,040 --> 00:29:46,400 Speaker 1: Pink Festival poster for the event. He scanned the names 430 00:29:46,440 --> 00:29:49,880 Speaker 1: of the artists scheduled to play, and the name scared him. 431 00:29:49,960 --> 00:29:52,200 Speaker 1: As he read each name, he felt a little stab 432 00:29:52,280 --> 00:29:58,080 Speaker 1: into his heart and stomach. The who Jimmie Hendrix, the Birds, Stab, 433 00:29:58,520 --> 00:30:03,880 Speaker 1: Stab Stab. Derek broke the silence. He knew the Beach 434 00:30:03,920 --> 00:30:06,080 Speaker 1: Boys felt out of place with the other performers on 435 00:30:06,120 --> 00:30:08,920 Speaker 1: the bill, but Brian didn't need to worry. Just because 436 00:30:08,960 --> 00:30:11,600 Speaker 1: they wore striped shirts didn't mean that has nothing to 437 00:30:11,640 --> 00:30:14,880 Speaker 1: do with it. Brian shouted. His eyes were close tight. 438 00:30:15,320 --> 00:30:17,800 Speaker 1: All he could see was Jimmie Hendricks thrilling the crowd, 439 00:30:18,040 --> 00:30:21,480 Speaker 1: Pete Townsend smashing his guitar against the stage. Nothing you 440 00:30:21,600 --> 00:30:26,920 Speaker 1: hear me. The phone call was a month ago. Brian 441 00:30:27,000 --> 00:30:28,880 Speaker 1: is still replaying it in his mind as he pressed 442 00:30:28,920 --> 00:30:30,720 Speaker 1: his play on the tape machine in his bell Air 443 00:30:30,760 --> 00:30:34,120 Speaker 1: home studio. He had a recording of the entire festival 444 00:30:34,200 --> 00:30:36,000 Speaker 1: sent over to him as soon as it was over, 445 00:30:36,080 --> 00:30:38,760 Speaker 1: but only now, and he worked up the courage to listen. 446 00:30:39,560 --> 00:30:42,720 Speaker 1: As the sound of the crowd fades, Brian sits patiently 447 00:30:42,800 --> 00:30:46,680 Speaker 1: and listens, says Simon and Garfuncles start their set only 448 00:30:46,760 --> 00:30:50,040 Speaker 1: seconds in. He can't take it anymore. He jumps up 449 00:30:50,080 --> 00:30:52,680 Speaker 1: and pushes the tape along. He holds down the heavy 450 00:30:52,680 --> 00:30:56,000 Speaker 1: fast forward button until it hurts his finger. He releases 451 00:30:56,040 --> 00:30:59,240 Speaker 1: the button and he hears it. Jimmie Hendrix brings his 452 00:30:59,320 --> 00:31:02,600 Speaker 1: song Third Stone from the Sun to a thundering clothes. 453 00:31:03,240 --> 00:31:06,760 Speaker 1: Feedback swells from the speakers, and the crowd goes wild. 454 00:31:07,200 --> 00:31:10,280 Speaker 1: Hendricks has just blown their minds. He's the breakout star 455 00:31:10,400 --> 00:31:13,440 Speaker 1: of the whole weekend. And the cheers are louder and louder, 456 00:31:13,640 --> 00:31:17,840 Speaker 1: and the feedback squeals, and as Brian's pulse reaches maximum velocity, 457 00:31:18,200 --> 00:31:21,520 Speaker 1: Hendrick shouts into the microphone, and You'll never hear surf 458 00:31:21,640 --> 00:31:28,600 Speaker 1: music again. Brian's heart leaps. He jumps toward the tape 459 00:31:28,640 --> 00:31:31,960 Speaker 1: machine and flicks the rewind button. Surely he misheard something 460 00:31:32,280 --> 00:31:34,360 Speaker 1: where the voices in his head playing tricks on him? 461 00:31:34,600 --> 00:31:37,080 Speaker 1: Was this a joke from someone at the festival, someone 462 00:31:37,120 --> 00:31:39,800 Speaker 1: who overdubbed that line onto the tapes? Were they fucking 463 00:31:39,840 --> 00:31:42,440 Speaker 1: with him? He plays the section for a second time, 464 00:31:42,640 --> 00:31:45,600 Speaker 1: and he hears it again, clearer this time. And You'll 465 00:31:45,600 --> 00:31:49,840 Speaker 1: never hear surf music again. Brian falls into his chair. 466 00:31:50,320 --> 00:31:54,120 Speaker 1: It's hard to breathe. He closes his eyes. He doesn't 467 00:31:54,120 --> 00:31:57,120 Speaker 1: know it, but Hendricks was actually paying homage to the 468 00:31:57,160 --> 00:32:00,880 Speaker 1: gravely ill surf guitar legend Dick Dale. Even if he 469 00:32:01,000 --> 00:32:04,960 Speaker 1: did know that, it wouldn't matter, though in Brian's current state, 470 00:32:05,520 --> 00:32:08,840 Speaker 1: no one could convince the otherwise. The damage was done, 471 00:32:09,240 --> 00:32:13,040 Speaker 1: The die was cast. The blood was on the tracks. 472 00:32:27,800 --> 00:32:30,959 Speaker 1: Blood on the Tracks produced by Double Elvis in partnership 473 00:32:31,000 --> 00:32:34,520 Speaker 1: with I Heart Radio. It's hosted an executive produced by 474 00:32:34,560 --> 00:32:38,880 Speaker 1: me Jake Brennan also executive produced by Brady Sadly. Zeth 475 00:32:38,960 --> 00:32:42,280 Speaker 1: Lundy is lead editor and producer. This episode was written 476 00:32:42,280 --> 00:32:45,920 Speaker 1: by Ben Burrow, mixing and sound designed by Colin Fleming. 477 00:32:46,680 --> 00:32:50,560 Speaker 1: Additional music and score elements by Ryan Spraker. This season 478 00:32:50,600 --> 00:32:54,280 Speaker 1: features Chris Anzaloni as the voice of Brian Wilson. Sources 479 00:32:54,320 --> 00:32:57,080 Speaker 1: for this episode are available at Double Elvis dot com 480 00:32:57,160 --> 00:32:59,800 Speaker 1: on the Blood on the Tracks series page, follow Double 481 00:33:00,040 --> 00:33:03,120 Speaker 1: This on Instagram at double Elvis and on Twitch at 482 00:33:03,360 --> 00:33:06,200 Speaker 1: Graceland Talks, and you can talk to me per Usual 483 00:33:06,320 --> 00:33:10,160 Speaker 1: on Instagram and Twitter at disgrace Land Pod, Rock and Roll, 484 00:33:23,040 --> 00:33:26,040 Speaker 1: That Crazy, or dayd