Speaker 1: Blood on the Tracks is the production of I Heart
Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius,
Speaker 1: one of the most successful record producers of all time.
Speaker 1: He's now sitting behind bars, serving a nineteen years to
Speaker 1: life sentence for murder. This is his story told by
Speaker 1: his so called friends. This is Special Agent Paul Ramone
Speaker 1: with the Federal Bureau of Investigation work in case number
Speaker 1: double oh four Dash ten Dash seven one nine case
Speaker 1: subject to Specter Philip Harvey. This information pertains to appear
Speaker 1: at ending February two thousand nine. Interview subject to Specter
Speaker 1: phil Interview number six Dash six six dash oh four
Speaker 1: one dash three zero nine Recall number ten March first,
Speaker 1: two thousand nine. What I want to know is, how
Speaker 1: can somebody who gave his whole life to music, who
Speaker 1: made such fucking great records, and you know I did,
Speaker 1: You've admitted I did. How could they have hated me?
Speaker 1: How could they still hate me? They don't understand me?
Speaker 1: How could they have hated me? How could they hate
Speaker 1: somebody whose records are filled with so much love and
Speaker 1: not only love, but honesty and so much pure fucking talent,
Speaker 1: But nobody wants to talk about any of that when
Speaker 1: they talk about me. The only thing anyone thinks of
Speaker 1: when they think about me is the blood on the tracks. Yeah.
Speaker 1: Chapter ten, Phil Specter and Phil Specter. I think rage
Speaker 1: is what comes out when you're disrespected, and rage is
Speaker 1: what makes you better. I wasn't respected like Gershwin or Berlin,
Speaker 1: and that lack of respect just build up the anger
Speaker 1: and rage inside of me made me do better. It's
Speaker 1: what made Miles Davis do better. Miles Davis, Charlie Parker,
Speaker 1: Duke Ellington, all those people did better because they were disrespected.
Speaker 1: They took that disrespect and they put it direct lee
Speaker 1: into their music, into their art. That's what makes their
Speaker 1: music art. Look at Tony Bennett. Tony Bennett was the
Speaker 1: biggest cocaine addict in the nineteen sixties. Tony Bennett and
Speaker 1: cocaine were like peanut butter and jelly in the nineteen sixties.
Speaker 1: And then years later he cleans up his act and
Speaker 1: nobody talks about his past drug addictions. Nobody treats him
Speaker 1: with disrespect. But anytime someone talks about Miles Davis, they
Speaker 1: talk about the drug problems, even if the drug problems
Speaker 1: were long behind him. Look at Woody Allen. Woody Allen
Speaker 1: will always be a pervert, no matter what else he's done.
Speaker 1: He'll always be scarred because he married his daughter, even
Speaker 1: though she's not his daughter, she's his adopted daughter. But
Speaker 1: that's always on the public's mind because the public doesn't
Speaker 1: like him, and the public doesn't like me. If they
Speaker 1: like you, they won't talk about those things. It's just
Speaker 1: the way it goes. If they don't like you, if
Speaker 1: they think we've done something wrong, they'll screw you. The media,
Speaker 1: the police. That's how the media works, that's how the
Speaker 1: police work. It's a mob mentality, and you gotta put
Speaker 1: energy into living it down. Look at the Beatles tapes,
Speaker 1: the Let It Be tapes. They weren't cared for, they
Speaker 1: were not guarded. I found them like someone finds trash
Speaker 1: in a dumpster, and I made something out of those tapes.
Speaker 1: I turned that pile of trash into a commercial success.
Speaker 1: They went straight to number one. But look how they
Speaker 1: treat me, how they talk about me, like I was
Speaker 1: the one who sucked it all up. Now did George
Speaker 1: Martin touch those tapes? He didn't have anything to do
Speaker 1: with those tapes. He wanted to be as far from
Speaker 1: them as possible. But look how they treat George Martin.
Speaker 1: He was made as Sir. Paul McCartney. He was made
Speaker 1: as Sir. Elton John was made to serve. Bob Dylan
Speaker 1: got an honorary degree from a college. Buddy Holly was
Speaker 1: given a stamp. Now, I love Buddy Holly, but he
Speaker 1: only lived three years in rock and roll. I've been
Speaker 1: around a lot longer than that, and I've made more
Speaker 1: of an impact. You've got to have some perspective, But
Speaker 1: who has time for perspective when it's so much easier
Speaker 1: to jump to a predetermined conclusion. A conclusion where Buddy
Speaker 1: Holly is a saint and Phil Specter is a problem.
Speaker 1: Buddy Holly was no saint. I can tell you that
Speaker 1: Elton John was no saint. I don't need a stamp necessarily,
Speaker 1: but a little respect would go a long way. I've
Speaker 1: done more for music than any of those people. I've
Speaker 1: at least done as much as they have his whole life.
Speaker 1: But see, that's what I'm talking about. And it's not
Speaker 1: just disrespect either. It's misunderstanding. It's the plight of the
Speaker 1: miss understood, the misseen. I've always been misunderstood from a
Speaker 1: very early age. I realized early on that I was
Speaker 1: a loner in school. I was different. We were poor.
Speaker 1: Everyone else was middle or upper class. I wasn't popular,
Speaker 1: wasn't part of any clique. I took that lack of respect,
Speaker 1: that lack of respect that I felt from a very
Speaker 1: young age, and I made myself better. I don't understand.
Speaker 1: I helped the football players with their homework so that
Speaker 1: they could pass their classes and stay on the team,
Speaker 1: and in return, they offered me protection. I've always found
Speaker 1: that protection comforting but also necessary, necessary because I would
Speaker 1: continue to be misunderstood throughout my life, and it helped
Speaker 1: me keep those who wanted to disrespect or mistreat me
Speaker 1: at arm's length. Having bodyguards follow your around as a statement,
Speaker 1: it's a statement that says I would like to be
Speaker 1: left alone. Everyone else in school were a bunch of
Speaker 1: losers anyway. None of them challenged society or dared to
Speaker 1: be different. I was the only one who was different,
Speaker 1: and I had to protect that. French When I first
Speaker 1: broke into show business with the Teddy Bears in I
Speaker 1: was still misunderstood. I should have seen it coming as
Speaker 1: early as that first saw to know him is to
Speaker 1: love him. I should have seen the writing on the wall,
Speaker 1: because no one knew what it was about. Everyone just
Speaker 1: thought it was some gooey love song, some puppy dog
Speaker 1: love song that Annette sang. Of course they did. The
Speaker 1: whole world was just like my high school class losers.
Speaker 1: Nobody's they didn't get it. They don't understand. Nobody knew
Speaker 1: that that song was about my father, that it was
Speaker 1: about death, that it was a love song to someone
Speaker 1: in the Great yawned. That kind of tragedy leaves a scar.
Speaker 1: When your father blows his head open, that's not funny.
Speaker 1: I was just nine when he took his own life.
Speaker 1: He sat in the front seat of his car back
Speaker 1: in Brooklyn, connected a tube to the exhaust, put the
Speaker 1: tube in the window, and just swam in it. And
Speaker 1: that's what was on his tombstone. To know him is
Speaker 1: to love him. The pain is always there. It's a constant.
Speaker 1: To hurt is a natural phenomenon, especially for an artist.
Speaker 1: Da Vinci felt pain. Wagner felt pain. I feel pain,
Speaker 1: but I don't get depressed. I don't allow myself to
Speaker 1: get depressed. It's a waste of emotion. I envy the
Speaker 1: little old lady who sits in front of the TV
Speaker 1: set and believes who praise and believe She'll go to
Speaker 1: he event and says, Amen, just believes it all. I'd
Speaker 1: like to believe I resent her and I'm jealous of her.
Speaker 1: I wish I believed the way that George Harrison believed.
Speaker 1: I recorded My Sweet Lord with him, and I convinced
Speaker 1: myself in that moment that I believed you have to
Speaker 1: you have to to make it authentic. That's why I
Speaker 1: was different from other producers special Most producers just interpret.
Speaker 1: I would create. It was like what Da Vinci did
Speaker 1: when he approached a canvas, he would turn himself over
Speaker 1: to it. Now on the flip side, I also recorded
Speaker 1: God with John Lennon, which was about not believing, not
Speaker 1: believing in anything other than yourself. You see, it was
Speaker 1: the complete opposite of George's record, and I approached that
Speaker 1: the same way I approached My Sweet Lord. I was
Speaker 1: there to create, to make something that people would be
Speaker 1: in awe for years to come, and it didn't matter
Speaker 1: what I believe. I wish I believe that God would
Speaker 1: look after me the way I've been disrespected misunderstood in
Speaker 1: my life. I think it's obvious that if there is
Speaker 1: a God, he's not looking out for me at all.
Speaker 1: And like John, I only believe in myself. That doesn't
Speaker 1: bring me much comfort. In fact, it scares me to death.
Speaker 1: It scares me to death because I may not believe
Speaker 1: in God, but I know there's a devil. You want
Speaker 1: to talk about lack of respect, Let's talk about the police.
Speaker 1: Let's talk about the Los Angeles Police Department, the Alhambra
Speaker 1: Police Department. I said it before with Lenny Bruce, and
Speaker 1: I'll say it again with me. The police are too
Speaker 1: much an overdose of police. They walk the s S walk.
Speaker 1: They rule with an iron fucking fist. That's how they
Speaker 1: treat people like me and people like Lenny, people who
Speaker 1: are different, people who stand up and say what they
Speaker 1: think and what they believe. They take it too far.
Speaker 1: They take it too far with people who have never
Speaker 1: given any indication that they believe themselves to be above
Speaker 1: the law, people who put their money where their mouth is.
Speaker 1: The last time I checked, this was a free country,
Speaker 1: is it not. I can say what I want and
Speaker 1: print what I want. I'm not breaking the laws. I
Speaker 1: didn't make any friends with the police over the years,
Speaker 1: going back all the way to when Lenny died and
Speaker 1: I paid for all those full page ads in Billboard
Speaker 1: and cash box, and then I had a few run
Speaker 1: ins with them over the years, the Beverly Hills Hotel
Speaker 1: and the Daisy Club and all that, all misunderstandings again,
Speaker 1: and I had a license to carry the gun. But see,
Speaker 1: that's how they decide, How they preemptively decide that they
Speaker 1: don't like you, that you are one of the bad ones,
Speaker 1: and then they disrespect you. They beat Miles Davis in
Speaker 1: the head until he bled while he was smoking a
Speaker 1: cigarette outside bird Land between sets at his own gig.
Speaker 1: They had already decided that they didn't like him because
Speaker 1: he was black, because he was a musician, because he
Speaker 1: was in their way on the sidewalk, just smoking a cigarette.
Speaker 1: The cops who came to my home would as a castle.
Speaker 1: By the way, the cops who came to my home
Speaker 1: on the morning of February third, two thousand three, were
Speaker 1: the same way. Sixteen cops, sixteen al Hambra cops showed
Speaker 1: up on my doorstep. We had called for a paramedic.
Speaker 1: We had a lady who was injured in the foyer
Speaker 1: of my home and needed a paramedic. But did they
Speaker 1: send a paramedic. No, they sent sixteen cops who wanted
Speaker 1: to interrogate me on the stairs outside my home. And meanwhile,
Speaker 1: this girl has slumped lifeless across the chair and my foyer.
Speaker 1: Was she alive? Was she dead? I didn't know, and
Speaker 1: they didn't know either, because they were wasting time arguing
Speaker 1: with me outside. I'm not a paramedic. They argued with
Speaker 1: me for forty five minutes before they came inside. And
Speaker 1: when they did come inside, they came inside like animals.
Speaker 1: They were drunken animals. How do I know that they
Speaker 1: weren't drunk? No, I never read the cops the Riot
Speaker 1: Act that day the way they read it to me.
Speaker 1: They came in barnstorming. There were stormtroopers. They were fucking gestapo.
Speaker 1: I'm five ft five, barely forty pounds. They knocked me down,
Speaker 1: They broke my nose, they gave me two black eyes,
Speaker 1: they cracked my spine, and then they tasered me with
Speaker 1: fifty volts of electricity. They knocked me down on the
Speaker 1: floor of my own home, and we were still waiting
Speaker 1: for the paramedics. They could have saved her, obviously, a
Speaker 1: terrible mistakes, but it's not terribly supposing that he could
Speaker 1: make such a mistake. Mist And what about her. I
Speaker 1: had just met her that night. She didn't even know
Speaker 1: who I was. At first. I barely knew anything about her.
Speaker 1: All I knew was what she had told me during
Speaker 1: the few hours we were together that night. I knew
Speaker 1: she was an actress, though I don't think I had
Speaker 1: ever seen any of her movies. But I don't know
Speaker 1: if she was depressed. Like I said before, I don't
Speaker 1: let myself get depressed, so I don't know that I
Speaker 1: would know if I saw it. And again, to hurt
Speaker 1: is a natural phenomenon, so maybe she was hurting in
Speaker 1: that moment. I don't know if she meant to take
Speaker 1: her own life or if it was an accident. She
Speaker 1: was intoxicated when I first met her. She took an
Speaker 1: open bottle of tequila with her from the House of
Speaker 1: Blues to the car. She was taking vicodin. She must
Speaker 1: have hurt. I know her. People have said the opposite
Speaker 1: about me, that I don't have any sympathy or empathy.
Speaker 1: They've said horrible things about me about how I treated them,
Speaker 1: How did I treat Ronnie so poorly. I loved Ronnie.
Speaker 1: I gave her everything away. I welcomed these people into
Speaker 1: my house. Debbie Harry, Leonard Cohne, the Ramons, Tina Turner.
Speaker 1: I had them all to the Big House on La Collina,
Speaker 1: Mikasa Sukasa. I saved the Beatles. I got John and
Speaker 1: George back on their feet when the Beatles broke up.
Speaker 1: You're just shooting talking. How could they have hated me?
Speaker 1: How can they still hate me? How could they hate
Speaker 1: somebody whose records were filled with so much love before?
Speaker 1: All these people were confused. I think Adriana was confused
Speaker 1: that morning, the morning of February three, I think he
Speaker 1: was confused, and he was in shock. It's hard to
Speaker 1: understand what he says half the time. The kids from Brazil,
Speaker 1: you know, and he still has a ways to go
Speaker 1: before he masters the English language. He saw me come
Speaker 1: out of the house and I was visibly upset. Sure
Speaker 1: I was holding the revolver. There was blood. There had
Speaker 1: been a terrible accident. We were in the foyer, me
Speaker 1: and Lana. I held the gun, she held the gun.
Speaker 1: At some point the gun went off. What else is
Speaker 1: there to tell you? I'm sure I wasn't making any sense.
Speaker 1: When I walked outside to talk to Adriano. The regular
Speaker 1: guy Dylan. Now, maybe he would have understood what I
Speaker 1: was saying better if he had been there, Maybe he
Speaker 1: would have told the cops something different than all of
Speaker 1: this would have been different. But whatever I said to Adriana,
Speaker 1: I can't even remember what I said. I think he
Speaker 1: just misheard what I said and had a hard time
Speaker 1: communicating that to the authorities. You just aren't in your
Speaker 1: right mind in that kind of situation. None of us are.
Speaker 1: It's a shock to the system. You can't think straight.
Speaker 1: I can't talk straight. It was my word against everyone
Speaker 1: else's words. It had always been my word against everyone else's.
Speaker 1: Maybe that's where the word genius comes from, the gene
Speaker 1: in us. What can I say? I wasn't like everybody else.
Speaker 1: We'll be right back after this word word word. You
Speaker 1: know somebody wants. Asked me a question. I said, Philip,
Speaker 1: aren't you lonely in this big house? All those rooms
Speaker 1: to roam around in? Damn must be lonely. And you
Speaker 1: know what I said, I said, you ever live in
Speaker 1: one room very lonely? Just you in the bathroom, man,
Speaker 1: you in the sink you in the toilet. Loneliness is
Speaker 1: a state of mind. You know what's lonely? Feeling like
Speaker 1: you're the only one on your side. Lonely is having
Speaker 1: no control over your fate. My fate is in the
Speaker 1: hands of twelve people who voted for George Bush. What
Speaker 1: kind of justice is that the jurors filled out this
Speaker 1: questionnaire of them said I was guilty from the get go,
Speaker 1: from said I'm insane, and the judge hates me. How
Speaker 1: is that justice? It's rigged. The whole system is rigged.
Speaker 1: The cops had their mind made up before they even
Speaker 1: walked into my house the castle that morning. The jury
Speaker 1: had their minds it up, the judge, the press, the media.
Speaker 1: How could they hate somebody whose records are filled so
Speaker 1: much love and so much pure fucking talent. You probably
Speaker 1: have your mind made up, but you don't even know.
Speaker 1: You haven't even tried to know. They don't understand. I
Speaker 1: lost my father when I was nine, man, I learned
Speaker 1: about true loneliness before anyone should. I lost my father,
Speaker 1: I lost Philip Jr. Wife after wife left me, I
Speaker 1: lost John to that lunatic. What about my loss? Doesn't
Speaker 1: that count for something? And the friends that I thought
Speaker 1: I had, were they even friends to begin with? I
Speaker 1: mean ship Man, When I Turner was down on his luck,
Speaker 1: when they put him in prison in Coke, who visited
Speaker 1: him in prison? Who did? I did? Motherfucker shore? And
Speaker 1: when he got out, who helped him get on his
Speaker 1: feet financially? And he's going to talk about me not
Speaker 1: paying for his cab to come to a party. When
Speaker 1: Darlene Love was cleaning houses and trying to make ends meet,
Speaker 1: when she was desperate and had no one to go to,
Speaker 1: no one to help, who helped her? Who helped her
Speaker 1: pay her rent for a year? Man? That was me?
Speaker 1: That was me? And now this poor woman's life has
Speaker 1: ended accidentally or on purpose, we'll never know. It ended
Speaker 1: in the foyer of my castle. And all the fingers
Speaker 1: of all these people, these people that I helped, your Lord,
Speaker 1: all these fingers are pointed at me. It's convenient for
Speaker 1: them to forget about everything else. They all need someone
Speaker 1: to be the pats here. I'm there, Patsy. Apparently I'm
Speaker 1: the guide. And so they spread these rumors, and that's
Speaker 1: what they are. Rumors, Rumors about my character, rumors about
Speaker 1: my actions and my impulses. They spread these rumors to
Speaker 1: make themselves feel better and to drag my name through
Speaker 1: the mud. They're all rewriting history, that's what they're doing.
Speaker 1: They're rewriting history so that years down the road, when
Speaker 1: people talk about Phil Specter, people are only going to
Speaker 1: talk about this awful thing that happened in my home,
Speaker 1: about how I'm a bully. How can somebody whose records
Speaker 1: are so They aren't going to talk about you've lost
Speaker 1: that love and feeling, or imagine, or about he's a rebel.
Speaker 1: They're not honesty. They're not going to talk about how
Speaker 1: I pioneered a revolution in pop music. I was the
Speaker 1: bridge between Elvis and the beatles Man. That's what John said.
Speaker 1: Pure talent. I was twenty when I made my first
Speaker 1: number one record. I created a new sound, a new
Speaker 1: way to make records. That kind of person doesn't just
Speaker 1: come along every day because they don't know that kind
Speaker 1: of person. You see the police, the district attorney, the judge,
Speaker 1: even the jury man. They've never been around that kind
Speaker 1: of person before. They wouldn't know a musical genius from Adam.
Speaker 1: They don't understand. Most of them are so young that
Speaker 1: the whole era is lost on them. They don't recognize
Speaker 1: the songs. But you know what kind of person these
Speaker 1: people all know, an evil person, murderers, the eves, monsters,
Speaker 1: the district attorney and the judge and the police. They're
Speaker 1: all around those kinds of people all day, every day.
Speaker 1: So that's all they see. If they look at a person,
Speaker 1: and it doesn't matter how many hit records he has,
Speaker 1: or how many mansions he's owned, how many beatles he
Speaker 1: has in his rolodex. They look at a person and
Speaker 1: they see the worst. That's what they're paid to do.
Speaker 1: And then the jurors, they're on a steady diet of
Speaker 1: law and order, judge, judy or whatever the cop or
Speaker 1: courtroom TV show of the day is. They speak in
Speaker 1: remedial legalise. They think they're all junior detectives, but they
Speaker 1: don't know anything about it. They say, I was standing
Speaker 1: close to her when the gun went off, but I
Speaker 1: was only two feet away. That's what the forensics team said. Well,
Speaker 1: what does the forensics team know about anything? They weren't there.
Speaker 1: All they have is one piece of the puzzle, a
Speaker 1: tiny little piece that they looked at under a microscope.
Speaker 1: They aren't privy to the circumstances. They don't know who
Speaker 1: was doing what or who was saying what. They don't
Speaker 1: know anything about it, None of them do. I can't
Speaker 1: really venture to guess some what he was thinking. They
Speaker 1: all think they know me, but they've never tried to
Speaker 1: know me, and they never will. M April two thousand nine,
Speaker 1: Los Angeles, six years after the death of Lana Clarkson,
Speaker 1: Bill Specter was found guilty of second degree murder. At
Speaker 1: the time of his sentencing, he was sixty nine years old.
Speaker 1: It was Specter's second murder trial in two years. The
Speaker 1: first trial, in two thousand seven, was televised. Specter did
Speaker 1: not testify. The jury deliberated for fifteen days, but couldn't
Speaker 1: reach the necessary unanimous verdict. It ended in mistrial hung jury.
Speaker 1: The second trial was the charm At the retrial, prosecutors
Speaker 1: called Specter a very dangerous man in detail of his
Speaker 1: history playing Russian Roulette with women. Specter's lawyers fought back
Speaker 1: and went after Specter's own personal bad guys, the cops.
Speaker 1: The judge noted that this was not an isolated incident,
Speaker 1: the taking of innocent human life. He said, it doesn't
Speaker 1: get any more serious than that. Specter's love of firearms,
Speaker 1: his uncontrollable temper, and his violent and volatile history with
Speaker 1: women came back to haunt him. Even his music, his
Speaker 1: art came back to haunt him. One of the first
Speaker 1: songs he recorded with the Crystals, he Hit Me and
Speaker 1: It Felt Like a Kiss, certainly didn't do any favors
Speaker 1: to his notorious reputation. After a five month trial, the
Speaker 1: jury returned their unanimous verdict. Specter sat in the courtroom
Speaker 1: stone faced as the judge read the verdicts nineteen years
Speaker 1: to life. Specter stared straight ahead, stared out at his space.
Speaker 1: He made no movement. All he did was blink his eyes.
Speaker 1: He showed no emotion. He didn't indicate that he was
Speaker 1: listening at all. In addition to the sentence, Specter was
Speaker 1: ordered to write a check to the Clarkson family for
Speaker 1: seventeen grand to cover funeral expenses. The judge denied Specter's
Speaker 1: request for a third trial. Specter's lawyer promised to appeal,
Speaker 1: and then man who once said I could strut sitting
Speaker 1: down I was so brazen walked a far less confident
Speaker 1: strut from the courtroom directly to jail. The bailiff shuffled
Speaker 1: Specter out of the courtroom, out of his dark pinstriped
Speaker 1: suit and red silk tie, and into his California Department
Speaker 1: of Corrections issued costume. That moment of transition sealed the deal.
Speaker 1: He was no longer Phil Specter the producer, or Phil
Speaker 1: Specter the musical genius. He was no longer Phil Specter,
Speaker 1: the supposed celebrity. He was now Phil Specter, the murderer,
Speaker 1: Phil Specter the gun not Phil Specter the explosive, perfectionist.
Speaker 1: Phil Specter the womanis or the boozer, the psycho loaner
Speaker 1: up in the castle on the Hill who wore Batman
Speaker 1: costumes and air conditioned darkness. Was back to being the
Speaker 1: loner he was as a child, the one who was
Speaker 1: different ostra size, misunderstood. He was no longer the bully.
Speaker 1: He'd be bullied from now on, just like he'd been
Speaker 1: bullied in school. Now eleven years later, Phil Specter is
Speaker 1: eighty years old and spends his days at a prison
Speaker 1: health care facility in Stockton, California, where he is ben
Speaker 1: since October two thousand and thirteen. Is eligible for early parole.
Speaker 1: In two thousand, Specter's musical productions remained some of the
Speaker 1: greatest of the twentieth century. River Deep, Mountain High, You've
Speaker 1: Lost that love and feeling in My Sweet Lord are
Speaker 1: the songs of an autour, works of art made possible
Speaker 1: by a process and a style that was as myopic
Speaker 1: as it was universal. In later years, as musical and
Speaker 1: social trends continued to evolve, Specter became increasingly stubborn and
Speaker 1: refused to evolve with everyone else. But even some of
Speaker 1: his later productions albums by Leonard Cohen and Dion, though
Speaker 1: initially panned upon their release, have risen in critical acclaim.
Speaker 1: Phil Specters identifiable stamp, whether delivered as a wall of
Speaker 1: sound or stripped down and raw, remains a stunning time
Speaker 1: capsule in moments frozen in amber or at least pressed
Speaker 1: into wax. For many, it's rapturous pop music that will
Speaker 1: never be taught. For many others, it's hard to separate
Speaker 1: the art from the artist, and the music filled with
Speaker 1: so much love was in fact the brainchild of a petty,
Speaker 1: vindictive and abusive man. Because no matter how much love
Speaker 1: is on the tracks, no matter how much honesty is
Speaker 1: on the tracks, no matter how much pure fucking talent
Speaker 1: is on the tracks. It's all tainted. All the love, honesty,
Speaker 1: and talent are tainted by blood. It's all there, the
Speaker 1: blood on the Tracks. This episode of Blood on the
Speaker 1: Tracks is brought to you by seven Club, a podcast
Speaker 1: that I host on musicians who died at the age
Speaker 1: of seven. Season two, featuring Jim Morrison, is now available,
Speaker 1: as is season one with twelve episodes featuring Jimmy Hendrix.
Speaker 1: Subscribe to the twenty seven Club on Apple podcast, I
Speaker 1: Heeart Radio app or wherever you get your podcasts, and
Speaker 1: of course, this episode was also brought to you by
Speaker 1: Disgrace Land, the award winning music and true crime podcast
Speaker 1: also hosted by Yours Truly. Episodes on The Rolling Stones,
Speaker 1: Jeremy Lewis, Cardi B, The Grateful Dead, Jay Z Prince,
Speaker 1: and many many more are all waiting for you right now.
Speaker 1: Just search Disgrace Land on Apple podcast, the I Heart
Speaker 1: Radio app or wherever you get your podcast all right.
Speaker 1: This episode of Blood on the Tracks was written by
Speaker 1: Zeth Lundie and scored in mixed by Matt Bowden, hosted
Speaker 1: by me Jake Brennan. Additional music and score elements by
Speaker 1: Ryan Spreaker and Henry Lunana. This episode featured Chris Anzelonius
Speaker 1: Phil Specter. Blood on the Tracks is produced by myself
Speaker 1: for Double Elvis and partnership with I Heart Radio. Sources
Speaker 1: for this episode are available at double Elvis dot com
Speaker 1: m on the Blood on the Track series page. If
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