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Speaker 1: Blood on the Tracks is the production of I Heart

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Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius,

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Speaker 1: one of the most successful record producers of all time.

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Speaker 1: He's now sitting behind bars, serving a nineteen years to

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Speaker 1: life sentence for murder. This is his story told by

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Speaker 1: his so called friends. This is Special Agent Paul Ramon

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Speaker 1: with the Federal Bureau of Investigation work in case number

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Speaker 1: double oh four dash ten dash seven four one nine

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Speaker 1: case subject of Specter Philip Harvey. This information for ten

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Speaker 1: to the period ending September interview subject to Richards Keith

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Speaker 1: interviewed number zero dash one one dash five one nine

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Speaker 1: dash six four zero recall number four data's March thousand

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Speaker 1: and six. I fell in love with Ronnie Bennett, and

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Speaker 1: Ronnie Bennett fell in love with me, but we had

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Speaker 1: to keep it under wraps because their old man, Phil

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Speaker 1: Spector was a man of prodigious jealousy. She had to

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Speaker 1: be in her room all the time after the gigs.

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Speaker 1: In case Phil called still Ronnie and I got after him.

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Speaker 1: Mick Cotton to her sister, who wasn't so tightly chaperoned.

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Speaker 1: The Rownetts would be my baby days. Phil was on

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Speaker 1: top of the world. So was Ronnie. Mick and I

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Speaker 1: were just getting our first bite in the world, and

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Speaker 1: ye had to bite back. Ronnie told me later how

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Speaker 1: insecure Phil was, of his height, was receiving hairline, How

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Speaker 1: jealousy wasn't of my terrible things, How jealousy was of

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Speaker 1: most people who had anything he didn't have or could

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Speaker 1: take away. And I think he did have that insecurity,

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Speaker 1: was so chronicked that he would go to terrible lengths

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Speaker 1: to allay his fears. Well, you know, terrible lengths are

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Speaker 1: the exact sorts of things that brief blood Hucks Chapter three,

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Speaker 1: Phil Spector and Keith Richards. We were told that we

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Speaker 1: couldn't talk to the girls. We couldn't even look at them,

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Speaker 1: you know, shoot a little glance in their direction. Hey there, baby,

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Speaker 1: how are you doing. We were polite boys, you know,

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Speaker 1: but we fancied a little fun every now and then.

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Speaker 1: It's like an edict outlying fun before the fun even started,

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Speaker 1: and the girls became like forbidden fruit for us. For

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Speaker 1: me in particular, it was all about Ronnie. I took

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Speaker 1: one look at her, heard one note from her angelic voice,

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Speaker 1: you know, and it was it was over. I knew

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Speaker 1: I was gonna break somebody's role. I was gonna look

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Speaker 1: at her. I was going to talk to her. You know.

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Speaker 1: I was a polite boy, mind, but I wasn't that polite.

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Speaker 1: Phil issued the no fun edict. You know. He was

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Speaker 1: a man of prodigious jealousy. He telegraphed Andrew and Andrew

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Speaker 1: log Goldham. You know, Andrew was our manager and our

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Speaker 1: producer at the time, and this was the nine four

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Speaker 1: or something. Andrew got the boot from Brian Epstein, you know,

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Speaker 1: and he helped put the beals together, got them in

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Speaker 1: their suits after the rough and tumble Hamburg days and all.

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Speaker 1: He was just a hustler back then, still a kid. Anyway,

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Speaker 1: Andrew got into some punch up with Brian, and Brian

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Speaker 1: cut him loose. Andrew didn't give a ship. It only

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Speaker 1: made him stronger. He made us out of that punch up.

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Speaker 1: He made the rolling stones. And this is what I

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Speaker 1: was calling myself. Keith Richard dropped the s. It was

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Speaker 1: all calculation and that was Andrew's bag. Andrew fancied himself

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Speaker 1: the London version of Phil Specter. He dressed like a dandy,

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Speaker 1: wore sunglasses inside, carried the attitude of a scorn genius,

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Speaker 1: like a big chip on his shoulder. You know, he

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Speaker 1: thought rock and roll could be art. We weren't long

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Speaker 1: for the tailored suits. We were polite boys. Again. Yeah,

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Speaker 1: I know, I keep saying that we were polite, but

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Speaker 1: we weren't that polite. We didn't want to be the Beetles.

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Speaker 1: We wanted to be whatever. The opposite of Beetles was

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Speaker 1: the black hat. All that I got an off track.

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Speaker 1: I was talking about Andrew and Phil, So wait, I

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Speaker 1: gotta back up a little more. And the Ronettes came

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Speaker 1: over to England for a bit of a tour, and

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Speaker 1: Be My Baby was still a big hit. So the

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Speaker 1: Ronettes come to England and Phil taps us to open

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Speaker 1: the shows the actually and before they even get there,

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Speaker 1: before the plane from New York even touches down, and

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Speaker 1: he throw, Phil sends his telegram to Andrew. All it

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Speaker 1: says is keep the stones away from my girls, his girls.

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Speaker 1: You know that should tell you a lot right there,

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Speaker 1: teach like he owned them or something. He certainly thought

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Speaker 1: he did. I'm sure what he meant by that telegram

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Speaker 1: was more like, keep the stones away from Ronnie. He

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Speaker 1: could give two ships about a spell and Nedrew, they

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Speaker 1: arrived in London before Phil, and that's why he sent

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Speaker 1: the warning. Phil came a little later. Wanted to make

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Speaker 1: sure you didn't have to worry until they got there,

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Speaker 1: you know. And so Andrew was very conserved, very aware

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Speaker 1: of this demand the Phils, and because he thinks so

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Speaker 1: highly of Phil, wants to impress Phil. Wants Phil to

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Speaker 1: think he's cool. The girls arrived from the States, and

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Speaker 1: Andrew keeps coming around to me and Mick, Hello, boys,

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Speaker 1: are you behaving yourself? And all that. But from the

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Speaker 1: moment I saw Ronnie, and you hope that's for all?

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Speaker 1: Phil who right? And she was a sight to behold,

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Speaker 1: and her voice, her voice was just this is magic.

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Speaker 1: And I got the same feeling all over my body,

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Speaker 1: whether I was looking at her or listening to her

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Speaker 1: singer she walked in a room, or just standing there

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Speaker 1: next to me. Phil around in London and to put

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Speaker 1: on the act just for Andrew's sake, you know, make

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Speaker 1: sure we could keep the gig. But I was doing

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Speaker 1: all I could to talk to Ronnie with my eyes

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Speaker 1: all behind Phil's back. Mind you, as a shy boy,

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Speaker 1: I really was, and Ronnie was a shy thing yourself.

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Speaker 1: I shot her a glance if you chance, I got

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Speaker 1: she She received them pretty soon. She was shooting them back.

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Speaker 1: Phil was like a stern headmaster that you have been

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Speaker 1: warned not to cross, you know, heads down, lads, pencils up,

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Speaker 1: quit snickering, headmasters coming. You could feel the pressure of

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Speaker 1: his gaze, the weight of his presence. As soon as

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Speaker 1: he was off the plane and backstage at the venues

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Speaker 1: we're playing this is our second UK tour. I think

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Speaker 1: he quickly got a with me and Ronnie looking at

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Speaker 1: each other the way we were, and he decided that

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Speaker 1: we wouldn't see a soul and she stepped off the

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Speaker 1: stage that night. I mean, you know, talk to Ronnie.

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Speaker 1: She'll tell you the stories right there when I told

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Speaker 1: you it was like an omen of things that were

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Speaker 1: to come between those two, the lengths to which he

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Speaker 1: would go to keep people away from her. He heard

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Speaker 1: a lot about Phil Spector, and we probably heard more

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Speaker 1: than most, what with Andrew's obsession with him, and all

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Speaker 1: heard all about his genius, about the way which he

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Speaker 1: was turning pop music on it's ear. But to us,

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Speaker 1: to me, he was an obstacle, a barrier. I had

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Speaker 1: to find my way around over under to the side.

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Speaker 1: You learned these things, you know, you learn how to

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Speaker 1: skate in unnoticed, how to work under the radar. I mean,

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Speaker 1: you don't get into the kind of the trouble that

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Speaker 1: the Stones got into without knowing how to play the system,

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Speaker 1: if you know what I'm talking about. I knew that

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Speaker 1: Ronnie would be my I just needed to figure out

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Speaker 1: how to play Phil. So speak of playing Phil. We

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Speaker 1: played a lot with Phil quite a bit in the studio.

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Speaker 1: You know, my interactions with him weren't just limited to

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Speaker 1: dodging his jealous case and inciting his jealous rage. When

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Speaker 1: I think of Phil, I think of Ronnie. Well, I

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Speaker 1: think Ronnie often, so those memories are right there, man,

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Speaker 1: right up front, vivid. But I forget the Phil was

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Speaker 1: there with us more often than you think. He was

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Speaker 1: in our four prmative years, and he wasn't producing us.

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Speaker 1: You know, Andrew was producing us, and Phil was there

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Speaker 1: at Andrew's behast. Phil was oddly unfilled in those moments.

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Speaker 1: He wasn't trying to control anything. He wasn't trying to

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Speaker 1: put his walls sound stamp on us anything like that. Now,

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Speaker 1: he was one of the boys, Fly on the wall,

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Speaker 1: Fly on the wall, who was given a bass to

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Speaker 1: player some moraccos to shake. That's filling based on playing

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Speaker 1: with Fire. Well, it was D two guitar, you know,

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Speaker 1: a guitar made to sound like a bass. That was

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Speaker 1: in l A sixty five. I think our Cia studios.

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Speaker 1: I played acoustic guitar and Mick played tambourine, and then

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Speaker 1: Jack MEETSI was on harpsichord. Jack MEETSI. You want to

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Speaker 1: talk about a true genius, Let's talk about Jack for

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Speaker 1: a minute. The true genius in Phil Spector's studio. Phil

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Speaker 1: just live vicariously through Jack. You know, his arrangements, his field,

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Speaker 1: his look, his whole, you know, his his jackanus. Jack

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Speaker 1: had it boy and Phil wanted it. But I'll come

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Speaker 1: back to Jack. I'll come back to Jack later. Now, Phil,

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Speaker 1: Phil was a phils, a great player, very understated, very

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Speaker 1: very few people know this. They think he just stood

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Speaker 1: there with his dark sunglasses on and his arms folded,

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Speaker 1: you know, lording over the studio like some grenade that

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Speaker 1: could go off at any time. Not that that wasn't true,

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Speaker 1: you know, but he was a very simple, very tasteful player.

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Speaker 1: That's him on playing with Fire at base Park. Don't

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Speaker 1: don't don't don't do That's Phil, that's Phil specter man.

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Speaker 1: He was really into the Stones. If you had known

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Speaker 1: how much I wanted to sneak off into the dark

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Speaker 1: at the end of the street with Ronnie. You know.

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Speaker 1: He may not liked us so much, but he liked us,

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Speaker 1: He really did. He really liked us. The music here everywhere,

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Speaker 1: everyone here in the flesh, Keith Richard and Brian Jones

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Speaker 1: and the drumlie Wants. When he was in the UK

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Speaker 1: with the ron Nats on that tour, you know, he

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Speaker 1: took a meeting with the head of Deck of Records,

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Speaker 1: Sir Edward lewis a proper English chap, you know, Sir Edward.

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Speaker 1: He took Andrew with him as a bot for he

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Speaker 1: wanted to release the Stones music on his Phillies label

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Speaker 1: in America. So he goes into the stuff you owe

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Speaker 1: an English office, the walls full of all that antiquity,

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Speaker 1: you know, and it makes his ass, makes his pitch,

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Speaker 1: you know, really a begging session more than anything, Sir

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Speaker 1: Edward Stonewall felt, even with Andrew standing there fills honorary

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Speaker 1: brit to butter him up. What's this? You know? An

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Speaker 1: American pilfering our lives. I won't stand for it. England

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Speaker 1: won't stand for it. That sort of thing, all very

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Speaker 1: very proper, no emotion, very British. It was like David

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Speaker 1: asking Goliath for a favor. If David thought that he

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Speaker 1: was Goliath, right, Phil was fucking wild man, That's how

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Speaker 1: he was. He was like that. So Phil and Andrew

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Speaker 1: left that meeting with nothing, nothing from Sir Edward, and

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Speaker 1: they were just, you know, in a state piste. Phil's

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Speaker 1: angry at the stuff you old fired with the balls

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Speaker 1: to say no to him. You know, he said no

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Speaker 1: to the Phil spectrum man said no right to his face.

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Speaker 1: And Andrew is angry that he's made himself look like

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Speaker 1: a fool in front of his hero. And neither of

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Speaker 1: them are happy, the two of them. They came from

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Speaker 1: that turtive meeting with Sirrett, went straight into the studio

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Speaker 1: with us or we were recording that fade Away we.

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Speaker 1: Phil took out some of his frustration on the pair

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Speaker 1: of moracas, those moracas here in the song those to him.

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Speaker 1: He was able to take his mind off things for

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Speaker 1: a few moments, and Mick dragged him into the other

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Speaker 1: room to write to the b side a little by little,

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Speaker 1: but you could tell that the meeting was just bristling

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Speaker 1: under his skin. He had been rebuffed and he was

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Speaker 1: told no, when he was used to being in control,

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Speaker 1: you know, to having the last say. He told people

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Speaker 1: how to sing and how to play, when to sing it,

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Speaker 1: when to play. So I know it's stungle. We had

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Speaker 1: drank as much as the drink in the studio that

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Speaker 1: we could that night, and the atmosphere got loose. Called

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Speaker 1: it real gone back then when we get to that place,

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Speaker 1: you know, real gone. Brother Phil wasn't taking part of

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Speaker 1: the drink, but he was more than ready to let loose.

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Speaker 1: He's a little man pent up with all sorts of

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Speaker 1: big time anchor, ready to unleash, get revenge, that type

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Speaker 1: of thing. We started riffing on this blue shuffle, very

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Speaker 1: up tempo. Do doom doom DoD DoD doo doo kink,

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Speaker 1: that sort of thing. You know, a boy from New

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Speaker 1: York City. Phil starts ad living on the track, starts

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Speaker 1: singing about Andrew and how he focks all night. It

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Speaker 1: sucks all night, you know. He sings taste that pussy

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Speaker 1: in taste just right, and the band is just rollicking

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Speaker 1: along right, the well oiled locomotive. You know, we're there.

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Speaker 1: We're there every even with the pints, even with the booze,

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Speaker 1: you know, and Mix starts his calm response with Phil,

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Speaker 1: we had it, man, it was firing. It goes yes, Andrew,

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Speaker 1: and Phil responds, suck it, Andrew, and Mix shots go

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Speaker 1: on Andrew and Phil responds, fucking Andrew. And then Phil

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Speaker 1: takes it to the next level, you know. He sings

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Speaker 1: something like, come and get it, little Andrew, before Sir

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Speaker 1: Edward comes and takes it away. Phil starts doing this

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Speaker 1: impression of blubbering Sir Edward, just this atrocious English accent,

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Speaker 1: almost incomprehensible, you know, and he's going on about himself

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Speaker 1: and the Rolling Stones. The Rolling Stones are a great

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Speaker 1: fucking group. What a low balls. And you know what, man,

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Speaker 1: Phil would pulled the same ship if Sir Edward himself

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Speaker 1: had been sitting right there in front of him. It

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Speaker 1: wasn't drunk, it wasn't high, but he didn't give a damn.

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Speaker 1: You know, the man did not care. And if you

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Speaker 1: found yourself on his bad side because well, you know,

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Speaker 1: you said no to his request to bring the Rolling

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Speaker 1: Stones to America or you may come funck me eyes

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Speaker 1: at his girls. Well, ship man, you better watch your back.

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Speaker 1: We'll be right back after this word, word word. I

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Speaker 1: found myself in Ronnie's room one day on that UK

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Speaker 1: to her Strand Palace hotel, and she was packing the

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Speaker 1: head off to the next stop. I don't even remember

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Speaker 1: how I did it. You know, I got into her room.

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Speaker 1: It was a bit of magic, you know, a slight

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Speaker 1: in the hand, and Phil looked away, and Phil walked away.

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Speaker 1: Something Phil made like a tree, and I made my move.

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Speaker 1: I was only twenty, you know, my turtle, next shirt,

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Speaker 1: all the way up to my chin, my hair down

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Speaker 1: over my ears. Ronnie was twenty, also a couple of kids.

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Speaker 1: Every move she made shot electricity through my bones. The

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Speaker 1: way she smelled, the way she smiled, the way she

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Speaker 1: packed her shirt and a suitcase on the bed, and

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Speaker 1: the hotel them. I loved her. You know, listen, man,

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Speaker 1: a gentleman never tells you know what I mean. But

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Speaker 1: I will say we got around to do more than

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Speaker 1: just looking at each other. When we find ourselves alone

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Speaker 1: without the watchful eye Phil Specter bearing down on us.

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Speaker 1: I was a bit afraid of his wrath. Was jealousy,

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Speaker 1: afraid of what he could do to me, to my career,

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Speaker 1: you know, if he found out, because he was a

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Speaker 1: music industry into himself at that time. You know what

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Speaker 1: I mean. I guess the part of me that didn't

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Speaker 1: give a funk beat out the part of me that

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Speaker 1: was concerned. You know, we went to anti beetles for nothing.

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Speaker 1: We did the opposite of what was expected. The world

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Speaker 1: wanted smooth and we were shop The world wanted clean

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Speaker 1: and we were dirty. Phil Specter expected that the world

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Speaker 1: would obey his orders and leave Ronnie alone. But I'm

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Speaker 1: not the world, am I not? And it wasn't just

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Speaker 1: his girl that he was all prickly about, right, Phil

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Speaker 1: wanted my hair too. Man. It was probably more conscious

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Speaker 1: of the fact that my hair was better than me is,

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Speaker 1: and the fact that I wanted to get close in

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Speaker 1: personal with a singer with his girlfriend. The man was

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Speaker 1: wearing rugs at that point, even back then, not fooling anyone.

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Speaker 1: You know, he got off the planet heath throw his hands,

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Speaker 1: shot right to the top of his head and all

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Speaker 1: that wind. No wonder he had such control issues, you

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Speaker 1: know what I mean? Ronnie told me later, Caroline jealous wasn't.

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Speaker 1: Later that year, the Stones finally get across the Pond

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Speaker 1: for a first tour of America. Who do we call Ronnie?

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Speaker 1: Of course I made sure I found a number for her.

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Speaker 1: The philm wasn't watching. It was her mother's number. I think.

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Speaker 1: We went up to Spanish Charlem the places Ronnie had

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Speaker 1: told me about, places I had read about making. I

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Speaker 1: crashed on her mother's living room floor. She made us

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Speaker 1: bacon and eggs in the morning. We were on our

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Speaker 1: best behavior. Of course, I was defaulted to my better

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Speaker 1: behavior around Ronnie. We piled into a red Cadillac with

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Speaker 1: the girls and went to Jones Beach out on Long Island, America. Man,

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Speaker 1: it ripped through my hair. America did I've been listening

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Speaker 1: to American music for so long that I felt like

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Speaker 1: a new the place already. But it was different being there.

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Speaker 1: America wasn't all like New York. We weren't received with

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Speaker 1: open arms just anywhere compact. Brian and me nearly pissing

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Speaker 1: ourselves in Omaha. Well, we were pissing in the men's

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Speaker 1: room with the auditorium, holding paper cups of hooch when

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Speaker 1: he drew his piece on us and told us we

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Speaker 1: couldn't be drinking in a public building. That's when I

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Speaker 1: bought my first out on that tour at a truck stop.

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Speaker 1: Back in those days, the cops were always coming for

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Speaker 1: musicians on this charge or that. You had to be ready,

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00:18:09,160 --> 00:18:12,080
Speaker 1: ready to defend yourself and ship. You know, I never

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Speaker 1: knew if I was about to turn a corner with

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Speaker 1: Ronnie's hand in mine and come face to face with Phil.

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Speaker 1: Can you imagine? Because I did. I imagined it all

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Speaker 1: the time with the scenarios play through my head. Phil

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00:18:22,640 --> 00:18:29,080
Speaker 1: Specter so jealous. He had people, he had bodyguards and

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Speaker 1: aaron men, and yes, man, he had deep pockets. He

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00:18:34,000 --> 00:18:36,439
Speaker 1: had some guy on stage standing right there, so when

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00:18:36,480 --> 00:18:38,560
Speaker 1: the ronnets were done and they began their exit, this

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00:18:38,600 --> 00:18:40,640
Speaker 1: guy could swoop in and take Ronnie by the arm

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Speaker 1: and keep her away from any and all swinging dicks

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Speaker 1: in the general vicinity. Phil had power, felt that he

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Speaker 1: felt it when he was around, and you felt it

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Speaker 1: when he wasn't around. And I didn't have power, men.

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Speaker 1: All I have was a bit of a chip on

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Speaker 1: my shoulder back then, a heart that was bursting for

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Speaker 1: Ronnie Bennett, and you know, fuck you attitude toward authority.

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Speaker 1: I've always had that. And you know why, I Phil

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Speaker 1: Specter at power, right, because he's so damn and secure. Man.

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Speaker 1: I didn't see Phil at all in New York, but

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Speaker 1: I felt Ronnie took me amidst C. James Brown at

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Speaker 1: the Apollo, and I spent a little too much time

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Speaker 1: with the Phil's face in the audience. I think it

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Speaker 1: was an absent presence that a lot of people felt

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Speaker 1: possibility to feel, you know, what could be. So maybe

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Speaker 1: it wasn't meant to be with me and Ronnie. Maybe

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Speaker 1: I should have stuck my neck out a little more,

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00:19:34,119 --> 00:19:39,040
Speaker 1: worried about things a little less. And there was also

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00:19:39,119 --> 00:19:41,879
Speaker 1: the entire body of the Atlantic Ocean between us most

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00:19:41,920 --> 00:19:45,600
Speaker 1: times too, that made things impossible. It's the kind of

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00:19:45,640 --> 00:19:51,760
Speaker 1: regret that men write books about, right, And so Ronnie

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00:19:51,760 --> 00:19:54,240
Speaker 1: got a little too close to Phil, believed him a

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00:19:54,240 --> 00:19:56,600
Speaker 1: little too much, believed in him a little too much.

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Speaker 1: I thought he would continue to champion her as an artist.

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Speaker 1: You know, she let herself feel love, though I don't

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Speaker 1: know if love was really what she was feeling. Last

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00:20:08,080 --> 00:20:10,920
Speaker 1: time I ever saw feel spect I just felt a

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00:20:11,040 --> 00:20:13,879
Speaker 1: deep longing for what could have been, what could have

347
00:20:13,920 --> 00:20:15,560
Speaker 1: been for me sure, but what could have been for

348
00:20:15,640 --> 00:20:18,400
Speaker 1: Ronnie too, that maybe we all would have just been

349
00:20:18,400 --> 00:20:20,639
Speaker 1: better off if I had swept a run off her feet,

350
00:20:21,000 --> 00:20:58,400
Speaker 1: told Phil Specter that she didn't belong to anybody. September nine, London,

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Speaker 1: I Can Tina Turn her album River Deep Mountain Highs,

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Speaker 1: released by London Records in the UK. The album was

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Speaker 1: scheduled for releasing the States on Philly's Phil Specter's label,

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Speaker 1: but it was pulled at the last minute when the

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Speaker 1: title track, also produced by Specter, bombed. Phili Specter's latest

356
00:21:16,440 --> 00:21:19,600
Speaker 1: Wagnerian pop Opus took Tina out of her comfort zone

357
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Speaker 1: and took Ike out of the picture completely. In the US,

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00:21:24,000 --> 00:21:26,200
Speaker 1: it was a thunderous dud that could be heard from

359
00:21:26,240 --> 00:21:28,720
Speaker 1: coast to coast, and it wasn't just because the thing

360
00:21:28,800 --> 00:21:32,720
Speaker 1: was drenched in an echo chamber. Across the pond, though

361
00:21:33,040 --> 00:21:37,080
Speaker 1: it was a different story. The single River Deep Mountain

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00:21:37,160 --> 00:21:41,080
Speaker 1: high peaked at number three on the UK charts. London

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00:21:41,280 --> 00:21:43,879
Speaker 1: loved it, and so the full length LP with the

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00:21:43,920 --> 00:21:46,400
Speaker 1: same name was soon released by the very man who

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Speaker 1: had turned down Phil Specter's offer to bring The Rolling

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Speaker 1: Stones to America just a few years prior, London Records,

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00:21:53,880 --> 00:21:57,040
Speaker 1: an offshoot of the Mighty Decca Records, released Phil Specter's

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Speaker 1: new single by Kent Tina. Sir Edward Lewis succumbed to

369
00:22:00,600 --> 00:22:04,359
Speaker 1: Phil's eight after all. Keith Richards picked up his copy

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Speaker 1: of the album after being blown away by the single.

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Speaker 1: Listening to Tina's hurricane vocal, he was struck by the

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Speaker 1: same feeling he had when he first heard Ronnie Bennett,

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Speaker 1: who would go on to become Ronnie Specter. He held

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Speaker 1: the LP jacket his hands, noting the dreamlike images of

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00:22:20,800 --> 00:22:24,720
Speaker 1: Icanina and full Power couple pose on the front. He

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00:22:24,840 --> 00:22:27,439
Speaker 1: turned it over and there on the back cover, standing

377
00:22:27,440 --> 00:22:30,960
Speaker 1: in between Varcanina with his hands greedily grasping for control

378
00:22:31,040 --> 00:22:33,679
Speaker 1: bobs in the studio was the man who had stood

379
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Speaker 1: between him, Keith and a girl. He deeply loved. Ronnie

380
00:22:39,320 --> 00:22:42,440
Speaker 1: Specter's face there on the LP made the bad memories

381
00:22:42,440 --> 00:22:46,480
Speaker 1: bubble up, the memory Stunned, they curled at the top,

382
00:22:46,800 --> 00:22:49,159
Speaker 1: the thoughts of what was or what would never be.

383
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Speaker 1: But Keith Richards, with an ass didn't live in the past.

384
00:22:53,840 --> 00:22:58,080
Speaker 1: Keith Richards barreled forward. He could barrow forward without Phil

385
00:22:58,160 --> 00:23:01,960
Speaker 1: Specter just fine. He didn't need the bad memories. He

386
00:23:02,080 --> 00:23:06,160
Speaker 1: did need Kentina, Turner, England love them, Keith love them,

387
00:23:06,200 --> 00:23:08,680
Speaker 1: Nick loved them. The Stones wanted them on their stage,

388
00:23:08,920 --> 00:23:11,360
Speaker 1: maybe more than Phil Specter wanted them in the studio.

389
00:23:12,760 --> 00:23:16,400
Speaker 1: The Stones reached out and found Argentina irritated and stuck

390
00:23:16,680 --> 00:23:19,439
Speaker 1: following their ill fated pairing with the fame Phil Specter,

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00:23:19,920 --> 00:23:22,640
Speaker 1: and they needed a change. They needed a direction, They

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00:23:22,680 --> 00:23:26,280
Speaker 1: needed an audience. Keith making the rest of the Boys

393
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Speaker 1: could offer them all three. The Stones invited them to

394
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Speaker 1: travel Abron filled the opening slot on their UK tour.

395
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Speaker 1: You get the audience they deserved, bask and the applause,

396
00:23:35,240 --> 00:23:39,760
Speaker 1: escape from under Phil Specter's thomb, and they answered the call,

397
00:23:40,080 --> 00:23:43,200
Speaker 1: opened the tour, and then in nineteen sixty nine they

398
00:23:43,200 --> 00:23:45,360
Speaker 1: opened for the Stones again in America and the tour

399
00:23:45,440 --> 00:23:47,720
Speaker 1: that included the infamous show it out to Mount Speedway

400
00:23:47,760 --> 00:23:50,840
Speaker 1: in California, the one that ended with chaos and death.

401
00:23:52,160 --> 00:23:55,680
Speaker 1: Keith traded war stories with Argentina, war stories involving their

402
00:23:55,760 --> 00:23:59,639
Speaker 1: encounters with Phil Specter, war stories told in secret because

403
00:23:59,640 --> 00:24:03,040
Speaker 1: Phil Specter remained powerful, and Phil Specter remained a man

404
00:24:03,160 --> 00:24:07,200
Speaker 1: of prodigious jealousy and There were times when Keith learned

405
00:24:07,200 --> 00:24:09,920
Speaker 1: more than he wanted to know, times when he delve

406
00:24:09,960 --> 00:24:12,119
Speaker 1: deeper into the mind of Ike Turner, deeper than he

407
00:24:12,160 --> 00:24:16,640
Speaker 1: had thought possible. I talked in that mind just opened up.

408
00:24:17,560 --> 00:24:23,440
Speaker 1: Its recesses were dark, its desires were darker. Sometimes their

409
00:24:23,480 --> 00:24:26,680
Speaker 1: conversations went too far, like the time Ike pulled the

410
00:24:26,760 --> 00:24:29,479
Speaker 1: gun from his pocket and ordered Keith to show him

411
00:24:29,480 --> 00:24:33,160
Speaker 1: how to play an open tuning Show me that five

412
00:24:33,240 --> 00:24:38,840
Speaker 1: streak ship. Motherfucker. He's jaw dropped when he watched I

413
00:24:39,000 --> 00:24:40,919
Speaker 1: take the same gun and pissed the whip one of

414
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Speaker 1: his band members. And the more Keith listen to I talk,

415
00:24:45,160 --> 00:24:48,120
Speaker 1: he realized that the guitarists, the producer, the man who

416
00:24:48,160 --> 00:24:50,639
Speaker 1: maybe invented rock and roll, had a lot more in

417
00:24:50,720 --> 00:24:53,840
Speaker 1: common with Phil Specter than he thought, and he now

418
00:24:54,400 --> 00:24:56,640
Speaker 1: cut from the same sort of stock that could only

419
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Speaker 1: lead to blood on the Tracks. This episode of Blood

420
00:25:13,480 --> 00:25:15,760
Speaker 1: on the Tracks is brought to you by twenty seven Club,

421
00:25:15,920 --> 00:25:18,520
Speaker 1: a podcast that I host on musicians who've died at

422
00:25:18,560 --> 00:25:21,840
Speaker 1: the age of seven. Season two, featuring Jim Morrison, is

423
00:25:21,880 --> 00:25:24,879
Speaker 1: now available, as is season one, with twelve episodes featuring

424
00:25:24,960 --> 00:25:28,720
Speaker 1: Jimmy Hendrix, subscribe to the twenty seven Club on Apple podcast,

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Speaker 1: episode of Blood on the Tracks was written by Zeth

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Speaker 1: Lundi and scored in mixed by Matt Bo hosted by

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Speaker 1: me Jake Brennan. Additional music and score elements by Ryan's

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