1 00:00:00,080 --> 00:00:02,240 Speaker 1: Blood on the Tracks is the production of I Heart 2 00:00:02,360 --> 00:00:06,560 Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius, 3 00:00:06,960 --> 00:00:09,320 Speaker 1: one of the most successful record producers of all time. 4 00:00:09,680 --> 00:00:12,240 Speaker 1: He's now sitting behind bars, serving a nineteen years to 5 00:00:12,280 --> 00:00:16,840 Speaker 1: life sentence for murder. This is his story told by 6 00:00:16,840 --> 00:00:28,000 Speaker 1: his so called friends. This is the Special Agent Paul 7 00:00:28,080 --> 00:00:31,040 Speaker 1: Ramon with the Federal Bureau of Investigation, working case number 8 00:00:31,080 --> 00:00:33,720 Speaker 1: double oh four DAP ten DASH seven four one nine, 9 00:00:34,040 --> 00:00:37,680 Speaker 1: case subject of Specter Philip Harvey. This information pertains to 10 00:00:37,680 --> 00:00:42,600 Speaker 1: a period ending January nine. Interview subject is right Darlene 11 00:00:42,680 --> 00:00:45,839 Speaker 1: a k A. Darlene Love. Interview number one Dash one 12 00:00:45,880 --> 00:00:49,320 Speaker 1: two Dash two six three Dash six six six Recall 13 00:00:49,440 --> 00:01:00,760 Speaker 1: number eight August twenty eight, two thousand eight. We'll all ego. 14 00:01:02,880 --> 00:01:04,920 Speaker 1: Phil was twenty years old when he had his first 15 00:01:04,959 --> 00:01:08,520 Speaker 1: two number one records. That will make anybody think they're 16 00:01:08,520 --> 00:01:12,480 Speaker 1: bigger than they are. He was always a wheeler and 17 00:01:12,520 --> 00:01:16,679 Speaker 1: a dealer. People were actually afraid of him. I was 18 00:01:16,720 --> 00:01:19,319 Speaker 1: probably one of the only people who wasn't afraid of him. 19 00:01:19,319 --> 00:01:22,400 Speaker 1: It didn't bother him that I wasn't afraid of him. 20 00:01:22,520 --> 00:01:25,560 Speaker 1: Look could he do if he could kill me? Is 21 00:01:25,640 --> 00:01:29,440 Speaker 1: that all I just didn't have any fear towards him, 22 00:01:29,480 --> 00:01:31,399 Speaker 1: because I knew he had a big mouth and he 23 00:01:31,440 --> 00:01:33,240 Speaker 1: wasn't going to go through with any of his threats. 24 00:01:34,920 --> 00:01:37,440 Speaker 1: People that threaten you often just have a big mouth. 25 00:01:39,440 --> 00:01:43,040 Speaker 1: Plus Phil needed me at that time. He didn't have Ronnie, 26 00:01:43,080 --> 00:01:46,280 Speaker 1: he didn't have the Righteous Brothers. I was the only 27 00:01:46,319 --> 00:01:49,280 Speaker 1: one who sang and gave him to number one records. 28 00:01:50,520 --> 00:01:53,320 Speaker 1: So why are you going to kill somebody you love? 29 00:01:54,240 --> 00:01:57,360 Speaker 1: Your bread and butter? Why are you gonna do anything 30 00:01:57,360 --> 00:02:24,200 Speaker 1: that would leave so much mud on the tracks? Chapter eight, 31 00:02:25,480 --> 00:02:44,840 Speaker 1: Phil Specter and Darlene Love. I thought my own story 32 00:02:44,919 --> 00:02:48,359 Speaker 1: was over. I thought, maybe, just maybe I would gradually 33 00:02:48,400 --> 00:02:51,120 Speaker 1: forget all the things I had done, the things I 34 00:02:51,120 --> 00:02:53,840 Speaker 1: had been through, like they had been nothing more than 35 00:02:53,880 --> 00:02:58,360 Speaker 1: a dream of fantasy. The ups, the downs, the good 36 00:02:58,440 --> 00:03:03,480 Speaker 1: the bad. It was a struggle. My own story had 37 00:03:03,520 --> 00:03:06,800 Speaker 1: been a struggle. My career was a struggle, and I 38 00:03:06,840 --> 00:03:11,120 Speaker 1: just didn't want to struggle anymore. I sang professionally for years, 39 00:03:11,160 --> 00:03:14,639 Speaker 1: since I was a teenager, years in the church year 40 00:03:14,760 --> 00:03:18,320 Speaker 1: singing with the blossoms. Here's some Good Good, singing to 41 00:03:18,440 --> 00:03:22,720 Speaker 1: the tune of Good Good Loving by the Good Good Blossoms, 42 00:03:24,360 --> 00:03:30,160 Speaker 1: years singing behind Elvis, Sam Cook, Frank Sinatra, Chain Gang, Monster, Mash, 43 00:03:30,320 --> 00:03:34,200 Speaker 1: That's Life, Shoot, Shoot say the name, and I probably 44 00:03:34,240 --> 00:03:37,560 Speaker 1: stood at a mic in the studio behind them. And 45 00:03:37,600 --> 00:03:39,840 Speaker 1: then all those years I've spent singing for Phil, or 46 00:03:40,360 --> 00:03:44,600 Speaker 1: reeling from singing with Phil, or avoiding singing with Phil 47 00:03:46,560 --> 00:03:49,360 Speaker 1: wasn't too Frank. I was in the right place at 48 00:03:49,400 --> 00:03:54,760 Speaker 1: the right time, but we never got it right. It 49 00:03:54,920 --> 00:03:59,960 Speaker 1: was never made right. I ghosted on so many record 50 00:04:00,560 --> 00:04:03,080 Speaker 1: so much that sometimes even I felt like the ghost. 51 00:04:03,960 --> 00:04:05,720 Speaker 1: No one knew it was me singing on those records. 52 00:04:05,720 --> 00:04:09,160 Speaker 1: Half the time, I was never given proper credit. And 53 00:04:09,160 --> 00:04:11,120 Speaker 1: then later when I was given a proper shot with 54 00:04:11,160 --> 00:04:13,840 Speaker 1: my own name on the record label, I was put 55 00:04:13,840 --> 00:04:18,840 Speaker 1: through an emotional ringer. So I stuck myself at the 56 00:04:18,880 --> 00:04:21,640 Speaker 1: back of the stage again, stood in the shadows, again 57 00:04:21,920 --> 00:04:25,800 Speaker 1: towards singing back up for Tom Jones and Dion Warwick. 58 00:04:27,120 --> 00:04:31,840 Speaker 1: My marriage ended, I missed my kids. I was tired, frustrated, 59 00:04:32,520 --> 00:04:35,640 Speaker 1: so I said, the hell with it? Who needs it? 60 00:04:35,680 --> 00:04:39,440 Speaker 1: Who needs this story? This story that will never be right? 61 00:04:40,279 --> 00:04:43,840 Speaker 1: And so I thought the story was over, But it 62 00:04:43,920 --> 00:04:49,000 Speaker 1: wasn't over, far from it. The turning point happened in 63 00:04:49,000 --> 00:04:53,679 Speaker 1: a bathroom, of all places, not even my own bathroom. 64 00:04:53,720 --> 00:04:56,720 Speaker 1: I had put the singing behind me, took up odd 65 00:04:56,800 --> 00:05:00,920 Speaker 1: jobs cleaning houses. The houses were nice, the money was steady, 66 00:05:00,960 --> 00:05:03,960 Speaker 1: The money was instant, hundred dollars a day. The stress 67 00:05:04,040 --> 00:05:08,520 Speaker 1: level was low. No contract. The only expectation that either 68 00:05:08,600 --> 00:05:10,560 Speaker 1: I or the person who hired me had was that 69 00:05:10,640 --> 00:05:13,240 Speaker 1: the house would look better when I left than when 70 00:05:13,279 --> 00:05:17,839 Speaker 1: I arrived. Simple, easy. I provided for my kids, put 71 00:05:17,880 --> 00:05:21,200 Speaker 1: food on the table and close on their backs. The 72 00:05:21,240 --> 00:05:23,159 Speaker 1: house I was in on this particular day was in 73 00:05:23,200 --> 00:05:25,719 Speaker 1: the hills of l a somewhere. It was Christmas time. 74 00:05:26,760 --> 00:05:29,039 Speaker 1: I was in the bathroom cleaning the sink. The whole 75 00:05:29,120 --> 00:05:34,360 Speaker 1: room smelled of disinfectant mint lemon. I had this lady's 76 00:05:34,440 --> 00:05:36,120 Speaker 1: radio play and I was in the house alone, so 77 00:05:36,200 --> 00:05:39,120 Speaker 1: I turned it up real loud, and the song came on. 78 00:05:40,560 --> 00:05:45,599 Speaker 1: My song came on Christmas, Maybe Please Come Home. I 79 00:05:45,680 --> 00:05:48,000 Speaker 1: stopped what I was doing, rubber gloves on my hands, 80 00:05:48,040 --> 00:05:50,919 Speaker 1: one of them holding the toilet bowl brush. I pushed 81 00:05:50,960 --> 00:05:52,880 Speaker 1: my hair back with the part of my forearm that 82 00:05:52,920 --> 00:05:56,760 Speaker 1: wasn't covered in the soapy glove, and just stood there enjoyed. 83 00:05:56,800 --> 00:06:01,920 Speaker 1: That moment took it all in. It's a beautiful song 84 00:06:02,839 --> 00:06:05,960 Speaker 1: means so many things that so many people communicates so 85 00:06:06,120 --> 00:06:09,960 Speaker 1: much about the holidays and distance and longing, about love 86 00:06:10,080 --> 00:06:16,279 Speaker 1: lost and found so much and under three minutes in 87 00:06:16,320 --> 00:06:20,240 Speaker 1: that moment, it brought me back. I closed my eyes 88 00:06:20,480 --> 00:06:23,200 Speaker 1: and I was standing there and gold Star in Hollywood. 89 00:06:23,200 --> 00:06:26,919 Speaker 1: It was nineteen sixty three, it was August. Los Angeles 90 00:06:26,960 --> 00:06:28,400 Speaker 1: was in the middle of a heat wave. It was 91 00:06:28,440 --> 00:06:31,480 Speaker 1: a hundred and three outside, but inside gold Star it 92 00:06:31,520 --> 00:06:35,839 Speaker 1: was a meat lock or Phil always kept it cold. 93 00:06:36,560 --> 00:06:39,280 Speaker 1: The song was a triumph, one of my triumphs, and 94 00:06:39,680 --> 00:06:41,800 Speaker 1: the feeling the song gave me in that moment, the 95 00:06:41,800 --> 00:06:44,760 Speaker 1: feeling it always gave me trumped any of the bad 96 00:06:44,800 --> 00:06:48,279 Speaker 1: memories I was holding onto. The song gave me strength. 97 00:06:49,160 --> 00:06:51,760 Speaker 1: It reminded me that no matter how low things got, 98 00:06:51,839 --> 00:06:56,520 Speaker 1: how low I got, I never felt weak. I found 99 00:06:56,560 --> 00:07:03,919 Speaker 1: strengthen my songs, my voice, And no matter how many 100 00:07:04,000 --> 00:07:07,560 Speaker 1: times Phil tried to suppress me, to silence my name 101 00:07:07,680 --> 00:07:10,400 Speaker 1: or my voice, he never made me feel less than 102 00:07:11,240 --> 00:07:17,960 Speaker 1: because I wouldn't let him. That song reminded me that 103 00:07:18,200 --> 00:07:22,440 Speaker 1: I had that power. Standing in the bathroom, I opened 104 00:07:22,440 --> 00:07:24,400 Speaker 1: my eyes and looked at my face in the mirror 105 00:07:24,480 --> 00:07:27,440 Speaker 1: as the song faded out. Trust me, the irony of 106 00:07:27,520 --> 00:07:29,400 Speaker 1: listened to one of my greatest moments play on the 107 00:07:29,480 --> 00:07:31,720 Speaker 1: radio in the house I had been hired to clean 108 00:07:32,160 --> 00:07:36,320 Speaker 1: was not lost on me in that moment. In that moment, 109 00:07:37,400 --> 00:07:40,480 Speaker 1: I knew what I had to do. I finished the job, 110 00:07:40,680 --> 00:07:42,960 Speaker 1: clean the house. At the end of the shift, I 111 00:07:43,000 --> 00:07:44,680 Speaker 1: told the woman who hired me that I wouldn't be 112 00:07:44,680 --> 00:07:47,360 Speaker 1: coming back the next week. She didn't even know who 113 00:07:47,400 --> 00:07:49,600 Speaker 1: I was. To her, I was merely someone who had 114 00:07:49,600 --> 00:07:53,640 Speaker 1: answered an ad and dusted her house. She'd find someone else. 115 00:07:55,320 --> 00:07:57,840 Speaker 1: I walked out that door and started looking for the 116 00:07:57,960 --> 00:08:03,640 Speaker 1: next microphone. Years later, my performance of Christmas Baby, Please 117 00:08:03,680 --> 00:08:07,480 Speaker 1: Come Home became an annual holiday tradition on David Letterman Show. 118 00:08:08,160 --> 00:08:13,920 Speaker 1: Ladies and Gentlemen but one and only Darlene Lowe. Then 119 00:08:14,000 --> 00:08:18,160 Speaker 1: everyone knew who I was. I knew my name, even 120 00:08:18,200 --> 00:08:19,840 Speaker 1: that woman in the Hills of l A with the 121 00:08:19,880 --> 00:08:23,120 Speaker 1: bathroom so clean you could eat off it. Phil started 122 00:08:23,160 --> 00:08:25,040 Speaker 1: to call the Letterman Show and tell them he was 123 00:08:25,080 --> 00:08:30,360 Speaker 1: going to sue. He was going to sue for repeated 124 00:08:30,440 --> 00:08:33,640 Speaker 1: use of that song. His song. You see, because every 125 00:08:33,720 --> 00:08:36,560 Speaker 1: session was a Phil Specter session, and every song was 126 00:08:36,600 --> 00:08:40,480 Speaker 1: a Phil Spectra production. The TV studio knew they were 127 00:08:40,520 --> 00:08:44,200 Speaker 1: in the clear, but Phil thought he could just scare them. 128 00:08:44,360 --> 00:08:49,880 Speaker 1: That's what he did. He thought he could scare everybody, 129 00:08:50,760 --> 00:08:54,800 Speaker 1: bend them to his will. He tried to make people 130 00:08:54,800 --> 00:08:57,240 Speaker 1: think a lot of things, think that they were nothing 131 00:08:57,320 --> 00:09:01,120 Speaker 1: before him, and they'd be nothing without him. But me, 132 00:09:02,040 --> 00:09:04,520 Speaker 1: I was working well before I ever looked him in 133 00:09:04,600 --> 00:09:10,000 Speaker 1: his eyes, and I'm still working. Phil Specter didn't scare 134 00:09:10,040 --> 00:09:46,000 Speaker 1: me at all. If you had asked me back in 135 00:09:46,920 --> 00:09:49,240 Speaker 1: three if Phil Specter would one day be behind bars 136 00:09:49,880 --> 00:09:53,040 Speaker 1: for murder, I need to think about that for a moment. 137 00:09:53,880 --> 00:09:58,440 Speaker 1: You try to really really evaluate another human being, and 138 00:09:58,480 --> 00:10:01,680 Speaker 1: it's really difficult because I had my own premonitions about 139 00:10:01,720 --> 00:10:05,360 Speaker 1: all these people I worked with. I remember telling Sam Cook, 140 00:10:05,400 --> 00:10:08,760 Speaker 1: for instance. I told Sam, you'd better keep an eye 141 00:10:08,760 --> 00:10:11,800 Speaker 1: out all these women you keep running around with. One 142 00:10:11,840 --> 00:10:13,480 Speaker 1: of them is going to be the wrong woman, and 143 00:10:13,520 --> 00:10:16,360 Speaker 1: then you're going to be in trouble. I just had 144 00:10:16,400 --> 00:10:20,360 Speaker 1: a feeling with Sam that things wouldn't end well, not 145 00:10:20,480 --> 00:10:23,520 Speaker 1: that I thought they would end that soon. With Phil, 146 00:10:23,679 --> 00:10:27,000 Speaker 1: he seemed to be tempting fate. His obsession with guns 147 00:10:27,080 --> 00:10:29,920 Speaker 1: was constant. He he even brought them to the studio. 148 00:10:30,800 --> 00:10:33,240 Speaker 1: He take one from his pockets, swinging on his finger 149 00:10:33,280 --> 00:10:37,320 Speaker 1: like he was an outlaw in a John Ford film. Now, 150 00:10:37,440 --> 00:10:42,040 Speaker 1: remember I was the only person who would stand up 151 00:10:42,040 --> 00:10:46,960 Speaker 1: to Phil on the regular. I had a husband, I 152 00:10:47,000 --> 00:10:48,800 Speaker 1: had kids at home, I had a mortgage to pay. 153 00:10:48,840 --> 00:10:51,640 Speaker 1: This was a job to me. This was life. This 154 00:10:51,760 --> 00:10:55,400 Speaker 1: wasn't no game. So I was the one who would leave, 155 00:10:55,760 --> 00:10:57,640 Speaker 1: walk out the room. If that gun goes off, it's 156 00:10:57,640 --> 00:11:05,240 Speaker 1: not gonna shoot me. Guns don't shoot people shoot. Gold 157 00:11:05,280 --> 00:11:10,080 Speaker 1: Star was crammed with people, musicians, singers, guests. If that 158 00:11:10,160 --> 00:11:11,880 Speaker 1: gun fell out of his hand and hit the floor, 159 00:11:11,920 --> 00:11:14,800 Speaker 1: guess what. The odds are pretty good that someone's gonna 160 00:11:14,840 --> 00:11:19,000 Speaker 1: take a bullet. My prophecy on Phil was because the 161 00:11:19,000 --> 00:11:23,280 Speaker 1: way he acted with guns. He always had guns in 162 00:11:23,320 --> 00:11:25,960 Speaker 1: the studio, and he was always put them in his 163 00:11:26,000 --> 00:11:28,120 Speaker 1: pocket and taking them out and flipping them around and 164 00:11:28,200 --> 00:11:31,240 Speaker 1: all those things. I was the only one that would 165 00:11:31,320 --> 00:11:33,760 Speaker 1: leave the session because I would say, listen, if he's 166 00:11:33,760 --> 00:11:36,960 Speaker 1: gonna shoot somebody, it ain't gonna be me. Guns don't 167 00:11:37,040 --> 00:11:43,040 Speaker 1: shoot people shoot. I just think it was stupid and 168 00:11:43,120 --> 00:11:46,600 Speaker 1: dangerous to be in a recording studio. We had like 169 00:11:46,760 --> 00:11:49,320 Speaker 1: fifteen to twenty musicians in the studio while he was 170 00:11:49,360 --> 00:11:52,720 Speaker 1: doing this. If the gun were dropped and went off, 171 00:11:52,760 --> 00:11:58,800 Speaker 1: guess what I stood my ground. If Phil bought a 172 00:11:58,840 --> 00:12:00,440 Speaker 1: gun into the studio, I'd make and put it in 173 00:12:00,440 --> 00:12:03,800 Speaker 1: his car. It was the gun or me. The studio 174 00:12:03,840 --> 00:12:08,000 Speaker 1: wasn't big enough for both of us. So yeah, part 175 00:12:08,000 --> 00:12:10,080 Speaker 1: of me wouldn't have been surprised if you told me 176 00:12:10,080 --> 00:12:12,080 Speaker 1: back in sixty three that one day Phil's gun would 177 00:12:12,120 --> 00:12:14,520 Speaker 1: go off and that there would be an innocent person 178 00:12:14,559 --> 00:12:16,400 Speaker 1: on the other end of it. We the jury and 179 00:12:16,440 --> 00:12:20,240 Speaker 1: the bad titled action find the defendant, Philip Spector, guilty 180 00:12:20,240 --> 00:12:22,800 Speaker 1: of the crime of second degree murder a lot of culture. 181 00:12:23,400 --> 00:12:26,080 Speaker 1: When I first met him, he didn't seem like that 182 00:12:26,200 --> 00:12:30,040 Speaker 1: kind of a person, a crazy gun person. It was 183 00:12:30,120 --> 00:12:33,880 Speaker 1: Jack Nietzsche that introduced me to Phil, recommended me. Jack 184 00:12:33,960 --> 00:12:36,720 Speaker 1: knew everybody I was singing in the Blossoms. We did 185 00:12:36,720 --> 00:12:39,280 Speaker 1: our own thing, but we did a lot of background singing. 186 00:12:40,080 --> 00:12:41,880 Speaker 1: I joined the group when I was still in high school. 187 00:12:42,120 --> 00:12:46,040 Speaker 1: Had to get my parents permission, so we got a reputation. 188 00:12:46,920 --> 00:12:49,120 Speaker 1: Jack told Phil that we were exactly what he was 189 00:12:49,160 --> 00:12:53,080 Speaker 1: looking for. Phil wasn't a bind. It was a bind 190 00:12:53,120 --> 00:12:56,720 Speaker 1: of his own, but a bind. Nonetheless, he was planning 191 00:12:56,720 --> 00:12:59,320 Speaker 1: for the Crystals to record this song. He's a rebel. 192 00:13:00,080 --> 00:13:02,360 Speaker 1: But he got wind that Vicky Carr was about to 193 00:13:02,360 --> 00:13:04,720 Speaker 1: record her own version of the song for Liberty Records. 194 00:13:05,360 --> 00:13:07,640 Speaker 1: Phil wanted his version to hit the radio waves and 195 00:13:07,679 --> 00:13:11,000 Speaker 1: the store shelves first. He wasn't gonna be one up 196 00:13:11,040 --> 00:13:17,240 Speaker 1: by another label. The problem was, the Crystals were torn 197 00:13:17,280 --> 00:13:20,200 Speaker 1: on the East Coast. Phil was in l A. He 198 00:13:20,280 --> 00:13:24,440 Speaker 1: needed to cut that record now, So that's how we 199 00:13:24,440 --> 00:13:28,280 Speaker 1: were brought in. I knew all thelong that we the Blossoms, 200 00:13:28,880 --> 00:13:30,559 Speaker 1: were singing on a record that was going to be 201 00:13:30,600 --> 00:13:34,200 Speaker 1: credited to someone else. I knew that from the jump. Now, 202 00:13:34,240 --> 00:13:37,320 Speaker 1: maybe the Crystals weren't aware of that fact. Maybe they 203 00:13:37,320 --> 00:13:39,280 Speaker 1: heard the song on the radio and maybe their jaws 204 00:13:39,320 --> 00:13:41,000 Speaker 1: dropped to the floor and they realized it wasn't their 205 00:13:41,080 --> 00:13:43,920 Speaker 1: voices on the track. I've been uncredited for so long 206 00:13:43,960 --> 00:13:46,960 Speaker 1: at that point, it wasn't something that shocked me, to 207 00:13:47,040 --> 00:13:49,880 Speaker 1: be honest, I wasn't even crazy about the song. Phil 208 00:13:49,960 --> 00:13:52,440 Speaker 1: paid me three grand flat to cut that tune, so 209 00:13:52,559 --> 00:13:57,640 Speaker 1: I was good. Phil was beside himself when our version 210 00:13:57,679 --> 00:14:03,360 Speaker 1: went to number one, but he was even more pleased 211 00:14:03,640 --> 00:14:08,840 Speaker 1: when Vicky Carr's version didn't even break the top one hundred. Now, 212 00:14:09,559 --> 00:14:11,839 Speaker 1: one of the next songs we've recorded, He's the boy 213 00:14:11,880 --> 00:14:15,000 Speaker 1: I love. That was supposed to be credited to me. 214 00:14:16,600 --> 00:14:18,680 Speaker 1: That was supposed to have my name on it, my 215 00:14:18,760 --> 00:14:23,960 Speaker 1: stage name, Darlene Love. Phil gave me that name, and 216 00:14:24,040 --> 00:14:26,960 Speaker 1: I figured where he went through the motions to give 217 00:14:27,000 --> 00:14:29,080 Speaker 1: me a catchy stage name. He would put it on 218 00:14:29,080 --> 00:14:32,480 Speaker 1: the record label, DJs would say my name on air, 219 00:14:32,600 --> 00:14:35,280 Speaker 1: kids would look at my name, maybe my picture on 220 00:14:35,320 --> 00:14:38,680 Speaker 1: the sleeve while the forty five spun. But when he 221 00:14:38,720 --> 00:14:41,480 Speaker 1: released it on his Phillies label, once again, it was 222 00:14:41,520 --> 00:14:47,280 Speaker 1: credited to the Crystals. Remember to him, it was always 223 00:14:47,520 --> 00:14:51,000 Speaker 1: a Phil Specter production. It didn't matter who sang on 224 00:14:51,040 --> 00:14:52,960 Speaker 1: it or who played on it. It was his record, 225 00:14:53,080 --> 00:14:55,360 Speaker 1: his show. He didn't care how anonymous any of us were. 226 00:14:57,080 --> 00:15:02,400 Speaker 1: The tower my heart sunk. I was hurt. I was angry. 227 00:15:03,920 --> 00:15:06,160 Speaker 1: It hurt that people were here in my record and 228 00:15:06,200 --> 00:15:08,560 Speaker 1: didn't know it was me. It hurt that I had 229 00:15:08,600 --> 00:15:14,000 Speaker 1: been lied to used. It hurt like hell. But I 230 00:15:14,120 --> 00:15:17,880 Speaker 1: made sure that it didn't bring me down. I was 231 00:15:17,960 --> 00:15:21,200 Speaker 1: determined to never give Phil Specter the satisfaction of knowing 232 00:15:21,280 --> 00:15:33,440 Speaker 1: that he broke me. We'll be right back after this 233 00:15:33,520 --> 00:15:42,720 Speaker 1: word word word. I may have had my own premonitions 234 00:15:42,720 --> 00:15:45,760 Speaker 1: about Sam Cooke and Phil Specter, but none of us 235 00:15:45,800 --> 00:15:50,640 Speaker 1: could have seen what was coming in late nine. That 236 00:15:50,720 --> 00:15:53,520 Speaker 1: day in November hit all of us like a brick. 237 00:15:54,800 --> 00:15:57,040 Speaker 1: We had been busy making other plans. As they said, 238 00:15:57,560 --> 00:16:00,280 Speaker 1: we had wrapped recording the Christmas album that summer. A 239 00:16:00,400 --> 00:16:04,120 Speaker 1: Christmas gift for you from Phil Specter, That's what he 240 00:16:04,200 --> 00:16:06,360 Speaker 1: called it again, putting his name out in front of 241 00:16:06,360 --> 00:16:11,920 Speaker 1: everyone else. We had recorded through a sweltering summer, put 242 00:16:11,920 --> 00:16:16,160 Speaker 1: our all into it, an army of musicians Hal Blaine, 243 00:16:16,560 --> 00:16:22,320 Speaker 1: Barney kessel Sonny Bono, Leon Russell, Tommy Tedesco. There was 244 00:16:22,560 --> 00:16:26,840 Speaker 1: no room to move in gold Star. Heel loved Christmas 245 00:16:26,920 --> 00:16:30,120 Speaker 1: music despite his Jewish background. He loved how big the 246 00:16:30,200 --> 00:16:33,720 Speaker 1: music was, how emotional and sentimental it was. It was 247 00:16:33,800 --> 00:16:38,080 Speaker 1: the Wagner lover inside of him. He also got a 248 00:16:38,120 --> 00:16:41,000 Speaker 1: big kick out of the fact that Irvin Berlin, a 249 00:16:41,120 --> 00:16:44,920 Speaker 1: fellow jew, was the one who wrote White Christmas. The 250 00:16:44,960 --> 00:16:49,360 Speaker 1: atmosphere was very playful and very joyous, and I think 251 00:16:49,360 --> 00:16:52,360 Speaker 1: that joy comes through on the record. It was one 252 00:16:52,360 --> 00:16:54,480 Speaker 1: of the few times I enjoyed being in a studio 253 00:16:54,560 --> 00:16:58,480 Speaker 1: with Phil. The record was packaged and set for release 254 00:16:59,400 --> 00:17:06,520 Speaker 1: and an honest Friday, November twenty second, nineteen and then 255 00:17:06,560 --> 00:17:11,080 Speaker 1: the bottom dropped out further details on an assassination attempt 256 00:17:11,080 --> 00:17:16,000 Speaker 1: against President Kennedy in Dallas, Texas. President Kennedy was shot 257 00:17:16,600 --> 00:17:20,200 Speaker 1: as he drove from Dallas Airport to downtown Dallas. Governor 258 00:17:20,320 --> 00:17:24,359 Speaker 1: Connelly of Texas in the car with him was also shot. 259 00:17:25,000 --> 00:17:28,439 Speaker 1: It is reported that three bullets rang out. A secret 260 00:17:28,480 --> 00:17:33,520 Speaker 1: serviceman was heard to shout from the car, He's dead. 261 00:17:36,000 --> 00:17:39,879 Speaker 1: President Kennedy was shot dead in Dallas. The record was 262 00:17:39,920 --> 00:17:43,720 Speaker 1: pulled from Shells shortly after. Phil blame poor sales on 263 00:17:43,720 --> 00:17:47,600 Speaker 1: the assassination. Phil was years old, his first t number 264 00:17:47,600 --> 00:17:52,359 Speaker 1: one records, Oh Make Anybody Think They Are And then 265 00:17:52,720 --> 00:17:56,840 Speaker 1: in early nineteen sixty four, the Beatles played Ed Sullivan. 266 00:17:57,560 --> 00:18:01,359 Speaker 1: The landscape of America changed Draft Stickley in so many ways, 267 00:18:01,400 --> 00:18:04,440 Speaker 1: and just a matter of months, that kind of change 268 00:18:04,480 --> 00:18:08,160 Speaker 1: was difficult for Phil to navigate. The whole thing began 269 00:18:08,160 --> 00:18:11,760 Speaker 1: a new pattern, a pattern of blame. We always had 270 00:18:11,800 --> 00:18:15,080 Speaker 1: to have something or someone to blame for his failures. 271 00:18:16,040 --> 00:18:18,600 Speaker 1: It was the singer's fault, or the label's fault, or 272 00:18:18,640 --> 00:18:20,399 Speaker 1: the audience has fault, or it was the fault of 273 00:18:20,440 --> 00:18:23,240 Speaker 1: an American president struck down in Dallas by God knows who. 274 00:18:25,119 --> 00:18:27,840 Speaker 1: I never heard him except the blame for anything, even 275 00:18:27,920 --> 00:18:31,119 Speaker 1: the Righteous Brothers. He hit gold with the Righteous Brothers 276 00:18:31,119 --> 00:18:35,359 Speaker 1: in You've Lost That Love and feeling was his everest. 277 00:18:35,960 --> 00:18:39,199 Speaker 1: It was his peak, that was his mountain high. It 278 00:18:39,320 --> 00:18:41,560 Speaker 1: was almost double the length of a single at that time, 279 00:18:41,600 --> 00:18:45,080 Speaker 1: and it's still dominated the charts. It got played on 280 00:18:45,240 --> 00:18:48,159 Speaker 1: radio and TV more than any other song in the 281 00:18:48,200 --> 00:18:56,040 Speaker 1: twentieth century. The twentieth century, that song was the twentieth 282 00:18:56,080 --> 00:18:59,000 Speaker 1: century understand. As crazy as they went for that in 283 00:18:59,040 --> 00:19:03,000 Speaker 1: the United States, they crazier in the UK. Andrew law 284 00:19:03,040 --> 00:19:05,960 Speaker 1: Gold him, the Rolling Stones manager, took out a full 285 00:19:06,080 --> 00:19:08,359 Speaker 1: page ad in the paper simply to sing the praises 286 00:19:08,400 --> 00:19:13,040 Speaker 1: of the song and to phil He called it the 287 00:19:13,200 --> 00:19:16,760 Speaker 1: last word and Tomorrow's sound today, and said that it 288 00:19:16,800 --> 00:19:21,200 Speaker 1: was responsible for exposing the overall mediocrity in the music 289 00:19:21,240 --> 00:19:25,760 Speaker 1: industry and even that level of fame, that level of 290 00:19:25,800 --> 00:19:29,640 Speaker 1: success wasn't good enough for him. He weaseled his name 291 00:19:30,080 --> 00:19:32,439 Speaker 1: under the songwriting credit of There As a Woman, the 292 00:19:32,480 --> 00:19:34,560 Speaker 1: B side of the single that Bill Medley and Bob 293 00:19:34,560 --> 00:19:38,159 Speaker 1: Hatfield had written on their own. They were irritated because 294 00:19:38,240 --> 00:19:40,480 Speaker 1: it took a third of the tracks royalty money and 295 00:19:40,480 --> 00:19:43,080 Speaker 1: funneled it directly to Fill even though he didn't write 296 00:19:43,080 --> 00:19:49,280 Speaker 1: the thing. More drama followed. Of course, Bill and Bobby 297 00:19:49,320 --> 00:19:52,120 Speaker 1: were fighting with each other and fighting with Phil, and 298 00:19:52,160 --> 00:19:54,560 Speaker 1: then Phil released an album of the Righteous Brothers material 299 00:19:54,640 --> 00:19:57,439 Speaker 1: that the duo didn't approve. The next thing, you know, 300 00:19:58,040 --> 00:20:04,320 Speaker 1: they jumped ship and go to MGM. Phil is suing them, 301 00:20:04,359 --> 00:20:06,800 Speaker 1: and then a few years later he's talking about them 302 00:20:06,800 --> 00:20:11,080 Speaker 1: in Rolling Stone magazine, calling them untalented and saying they 303 00:20:11,080 --> 00:20:15,400 Speaker 1: were really non intellectual and unable to comprehend success. They 304 00:20:15,400 --> 00:20:20,200 Speaker 1: couldn't comprehend success. They were intalented. Man, leave it to Phil. 305 00:20:20,560 --> 00:20:23,840 Speaker 1: Only Phil would have a hit that huge and then 306 00:20:23,920 --> 00:20:27,040 Speaker 1: so easily mess it all up. I think those sorts 307 00:20:27,040 --> 00:20:30,720 Speaker 1: of experiences led him to be even more controlling, controlling 308 00:20:30,760 --> 00:20:38,679 Speaker 1: people like me, and that's why after I had finally 309 00:20:38,720 --> 00:20:40,879 Speaker 1: cut myself free from Phil and signed a contract with 310 00:20:40,920 --> 00:20:44,840 Speaker 1: Philadelphia International, with gamble and huff. He found a way 311 00:20:44,840 --> 00:20:51,680 Speaker 1: to get me back without me even knowing. It was 312 00:20:51,720 --> 00:20:54,280 Speaker 1: a power move, no doubt. I was in Philly for 313 00:20:54,359 --> 00:20:57,560 Speaker 1: a few months. They'll have the same lawyer. They sold 314 00:20:57,560 --> 00:20:59,840 Speaker 1: the contract back to him. I had a turning point 315 00:20:59,840 --> 00:21:02,520 Speaker 1: that day in the studio in the early seventies recording Lord, 316 00:21:02,720 --> 00:21:05,199 Speaker 1: if You're a woman. Not the turning point I had 317 00:21:05,240 --> 00:21:07,640 Speaker 1: cleaning that woman's bathroom that would be years later. This 318 00:21:08,440 --> 00:21:11,080 Speaker 1: was an opposite kind of turning point, the moment when 319 00:21:11,119 --> 00:21:13,719 Speaker 1: I said to hell with it all, put my headphones 320 00:21:13,760 --> 00:21:15,919 Speaker 1: on the mica sand and walked out of phil studio forever. 321 00:21:17,400 --> 00:21:19,960 Speaker 1: I didn't see him again for twenty years. At the 322 00:21:20,080 --> 00:21:22,600 Speaker 1: Rock and Roll Hall of Fame, they were given him 323 00:21:22,640 --> 00:21:25,120 Speaker 1: a damn Award when he took him another twenty two 324 00:21:25,200 --> 00:21:28,080 Speaker 1: years after his to give me mine, And despite the 325 00:21:28,080 --> 00:21:30,119 Speaker 1: fact that he never gave me proper credit, that he 326 00:21:30,480 --> 00:21:33,200 Speaker 1: bought back my contract just to get under my skin, 327 00:21:33,280 --> 00:21:36,160 Speaker 1: that I had to sue him for royalties ode despite 328 00:21:36,160 --> 00:21:38,280 Speaker 1: all of that, when I was inducted into the Rock 329 00:21:38,320 --> 00:21:39,879 Speaker 1: and Roll Hall of Fame in two thousand and eleven, 330 00:21:39,920 --> 00:21:44,240 Speaker 1: I thanked him. I called him a genius. At that 331 00:21:44,280 --> 00:21:46,720 Speaker 1: point he was in jail, but I knew a word 332 00:21:46,760 --> 00:21:49,520 Speaker 1: would get around to him. He'd hear my speech, and 333 00:21:49,960 --> 00:21:52,000 Speaker 1: I wanted him to know that, no matter what he 334 00:21:52,080 --> 00:21:54,480 Speaker 1: did to me, I was going to go out on 335 00:21:54,560 --> 00:22:38,119 Speaker 1: top January, New York City, the Waldorf Astoria. Phil Specter 336 00:22:38,280 --> 00:22:41,080 Speaker 1: never mentioned Darlene loved during his speech at the Rock 337 00:22:41,119 --> 00:22:44,520 Speaker 1: and Roll Hall of Fame induction ceremony. He could see 338 00:22:44,600 --> 00:22:47,320 Speaker 1: Darlene in the audience from his eagle eye position at 339 00:22:47,320 --> 00:22:51,480 Speaker 1: the podium on stage. His three inch Cuban heels helped 340 00:22:51,480 --> 00:22:54,800 Speaker 1: with the elevated advantage point. She applauded with the crowd, 341 00:22:55,040 --> 00:22:57,520 Speaker 1: smiled at Phil from where she sat at her table. 342 00:22:58,160 --> 00:23:00,760 Speaker 1: But Phil made sure that he kept the moment to himself. 343 00:23:01,359 --> 00:23:04,359 Speaker 1: Just like the songs he recorded at gold Star, his 344 00:23:04,520 --> 00:23:08,440 Speaker 1: moment on stage was a Phil Specter production. It had 345 00:23:08,480 --> 00:23:11,080 Speaker 1: been a while years even since Phil made a public 346 00:23:11,119 --> 00:23:13,960 Speaker 1: appearance like this. He had spent most of the nineteen 347 00:23:14,000 --> 00:23:16,680 Speaker 1: eighties living the life of a reclusive midas who had 348 00:23:16,720 --> 00:23:20,560 Speaker 1: lost his golden touch. In nine eighty six, he left 349 00:23:20,640 --> 00:23:23,280 Speaker 1: the Hollywood mansion where he held court and where he 350 00:23:23,280 --> 00:23:27,359 Speaker 1: held people hostage for two decades. He moved into another mansion, 351 00:23:27,359 --> 00:23:31,000 Speaker 1: in Pasadena, this one previously owned by Robert Reid of 352 00:23:31,080 --> 00:23:34,600 Speaker 1: the Brady Bunch. He said he was downsizing, but instinctively 353 00:23:34,640 --> 00:23:39,720 Speaker 1: went in the opposite direction. He went big bulgarian, three stories, 354 00:23:39,760 --> 00:23:43,440 Speaker 1: two acres or waterfall and a jacuzzi. The Mediterranean style 355 00:23:43,560 --> 00:23:46,400 Speaker 1: mansion offered him ample room to never be seen by 356 00:23:46,440 --> 00:23:49,879 Speaker 1: anyone else for as long as he wanted. Everything he 357 00:23:49,920 --> 00:23:52,400 Speaker 1: did in the eighties was done in secret. He got 358 00:23:52,480 --> 00:23:56,560 Speaker 1: married again, this time to his assistant turned girlfriend, Janezavola, 359 00:23:56,920 --> 00:24:00,280 Speaker 1: and the couple had twins in nine two. He kept 360 00:24:00,280 --> 00:24:03,560 Speaker 1: the marriage hidden from many. He really sold that image 361 00:24:03,640 --> 00:24:07,600 Speaker 1: out of touch, hermetic, paranoid, cartoonish part Howard Hughes and 362 00:24:07,680 --> 00:24:10,600 Speaker 1: part Howard the Duck with the three armed bodyguards that 363 00:24:10,640 --> 00:24:12,639 Speaker 1: flanked him as he made his way to the stage 364 00:24:12,640 --> 00:24:15,840 Speaker 1: at the Waldorf Historia that night. He didn't know it 365 00:24:15,880 --> 00:24:18,760 Speaker 1: as he walked, wobbling from side to side from one 366 00:24:18,840 --> 00:24:21,879 Speaker 1: too many Roman Cokes. But in less than two years 367 00:24:21,920 --> 00:24:24,720 Speaker 1: he would find himself hold up in the presidential suite 368 00:24:24,720 --> 00:24:27,840 Speaker 1: of the Waldorf Historia for a year as he mourned 369 00:24:27,840 --> 00:24:30,640 Speaker 1: the death of his nine year old son, Philip Jr. 370 00:24:30,720 --> 00:24:37,119 Speaker 1: From leukemia. Be my baby boomed over the house p A, 371 00:24:37,320 --> 00:24:39,879 Speaker 1: but Phil didn't want to talk about be my baby. 372 00:24:40,160 --> 00:24:42,840 Speaker 1: Phil was drunk on the moment, drunk on the attention, 373 00:24:42,920 --> 00:24:45,800 Speaker 1: and drunk on whatever the mind eraser of choice was 374 00:24:45,880 --> 00:24:49,560 Speaker 1: that day. He rambled on about George Bush, about the 375 00:24:49,600 --> 00:24:53,640 Speaker 1: presidential inauguration that was only two days away. The audience 376 00:24:53,640 --> 00:24:58,199 Speaker 1: shot each other confused, if not mildly entertained glances, and 377 00:24:58,240 --> 00:25:00,800 Speaker 1: when he got around to talking about music, he skipped 378 00:25:00,840 --> 00:25:02,920 Speaker 1: over all the people who helped get him to the place. 379 00:25:02,960 --> 00:25:06,360 Speaker 1: He found himself that day, standing at the podium addressing 380 00:25:06,400 --> 00:25:09,760 Speaker 1: a room full of industry giants, he didn't ring out 381 00:25:09,760 --> 00:25:11,879 Speaker 1: the names of the singers and the musicians who had 382 00:25:11,960 --> 00:25:15,199 Speaker 1: layered the bricks in the wall of sound. Instead, he 383 00:25:15,359 --> 00:25:19,199 Speaker 1: pointed fingers. He pointed a finger at Bruce Springsteen, and 384 00:25:19,240 --> 00:25:21,800 Speaker 1: then another at Eric Carmen, and yet another at Abba. 385 00:25:22,080 --> 00:25:25,160 Speaker 1: Accused them of ripping him off. They all ripped him off. 386 00:25:25,800 --> 00:25:29,399 Speaker 1: He played the stereotype to a t. His bodyguards had 387 00:25:29,400 --> 00:25:34,520 Speaker 1: to cut him short and peel him away from the podium. 388 00:25:34,600 --> 00:25:37,800 Speaker 1: Phil went home and got lost in his Pasadena mansion again. 389 00:25:38,800 --> 00:25:42,000 Speaker 1: Down the road from Pasadena, twenty six year old actress 390 00:25:42,080 --> 00:25:45,080 Speaker 1: Lana Clarkson wasn't paying any attention to the Rock and 391 00:25:45,200 --> 00:25:48,200 Speaker 1: Roll Hall of Fame ceremony that night. The name phil 392 00:25:48,280 --> 00:25:52,080 Speaker 1: Specter meant nothing to her. Instead, she looked at a 393 00:25:52,160 --> 00:25:54,720 Speaker 1: poster mock up for her latest movie, Wizards of the 394 00:25:54,800 --> 00:25:58,200 Speaker 1: Lost Kingdom Too. There was a castle in the distance. 395 00:25:58,440 --> 00:26:00,439 Speaker 1: It lay at the end of a craggy cliff that 396 00:26:00,520 --> 00:26:03,840 Speaker 1: was shaped like a lightning bolb. Two foreboding heads hung 397 00:26:03,880 --> 00:26:06,760 Speaker 1: in the clouds. The dramatic tagline at the top of 398 00:26:06,800 --> 00:26:09,879 Speaker 1: the poster read, Across the Sea of Dreams, behind the 399 00:26:09,920 --> 00:26:15,520 Speaker 1: curtain of time lies the land of ultimate fantasy. Lana 400 00:26:15,600 --> 00:26:18,080 Speaker 1: got lost for a moment looking at the image, got 401 00:26:18,119 --> 00:26:20,560 Speaker 1: lost in the other worldliness of it. It was a 402 00:26:20,600 --> 00:26:23,080 Speaker 1: place she had never seen before, the kind of place 403 00:26:23,119 --> 00:26:25,520 Speaker 1: she would probably never see beyond the make believe of 404 00:26:25,520 --> 00:26:29,359 Speaker 1: a Hollywood sound stage, a castle, a mansion, high in 405 00:26:29,400 --> 00:26:31,960 Speaker 1: the clouds, at the end of a long and winding road. 406 00:26:33,320 --> 00:26:37,679 Speaker 1: It really was a fantasy. She'd been eating out the 407 00:26:37,760 --> 00:26:42,840 Speaker 1: actress thing for years now. She was tall, blonde, classically beautiful. 408 00:26:43,400 --> 00:26:46,479 Speaker 1: Her parents had named her after Hollywood legend Lana Turner, 409 00:26:46,800 --> 00:26:50,359 Speaker 1: and like Laana Turner, Lana Clarkson was the embodiment of 410 00:26:50,359 --> 00:26:54,359 Speaker 1: tinseltown elegance. She brought a level of halcyon class to 411 00:26:54,440 --> 00:26:57,119 Speaker 1: every minor role she could snagged. She had walked on 412 00:26:57,400 --> 00:27:00,520 Speaker 1: On Three's Company in The Jefferson's On Night Writer, and 413 00:27:00,560 --> 00:27:03,359 Speaker 1: Who's the Boss on the A Team in The Love Boat, 414 00:27:04,000 --> 00:27:06,920 Speaker 1: but her movie career wasn't progressing beyond the B list 415 00:27:07,119 --> 00:27:11,639 Speaker 1: or even the C list. Wizards of the Lost Kingdom 416 00:27:11,720 --> 00:27:14,240 Speaker 1: Too was set for release in March, and she was 417 00:27:14,280 --> 00:27:16,639 Speaker 1: worried how many theaters in town would even show it. 418 00:27:17,000 --> 00:27:19,800 Speaker 1: At the poster would get hung up, she prepared herself 419 00:27:19,840 --> 00:27:22,960 Speaker 1: for another straight to video co classic the right people 420 00:27:23,000 --> 00:27:26,760 Speaker 1: would never see. Laana wasn't paying any attention to what 421 00:27:26,840 --> 00:27:30,119 Speaker 1: was happening at the Waldorf Historia that night. She stared 422 00:27:30,160 --> 00:27:32,520 Speaker 1: at the poster wondered if this would be the role 423 00:27:32,600 --> 00:27:34,840 Speaker 1: that was different, the one that got her one step 424 00:27:34,880 --> 00:27:38,400 Speaker 1: closer to something she never thought was attainable, the fabled 425 00:27:38,440 --> 00:27:43,680 Speaker 1: mansion in the Clouds. It will be fourteen years later, 426 00:27:44,040 --> 00:27:48,840 Speaker 1: almost to the day that Lana Clarkson approached that unattainable fantasy. 427 00:27:49,160 --> 00:27:51,399 Speaker 1: She walked the craggy cliff walk to the door of 428 00:27:51,440 --> 00:27:55,479 Speaker 1: a hilltop castle in Alhambra, Her host was Phil Specter. 429 00:27:56,400 --> 00:27:59,639 Speaker 1: Even fourteen years later, she still knew nothing about it. 430 00:28:00,240 --> 00:28:04,640 Speaker 1: The invitation was sudden, unexpected, and the castle was magical 431 00:28:04,800 --> 00:28:08,640 Speaker 1: but also eerie. Something about it all didn't feel quite right. 432 00:28:08,840 --> 00:28:12,200 Speaker 1: She was driven up the quarter mile driveway, but then 433 00:28:12,320 --> 00:28:15,240 Speaker 1: she thought, what was he gonna do? What was he 434 00:28:15,280 --> 00:28:17,560 Speaker 1: going to do to his bread and butter? Why would 435 00:28:17,560 --> 00:28:20,840 Speaker 1: he do anything? It would leave so much blood on 436 00:28:21,000 --> 00:28:35,960 Speaker 1: the tracks. This episode of Blood on the Tracks is 437 00:28:36,000 --> 00:28:38,680 Speaker 1: brought to you by twenty seven Club, a podcast that 438 00:28:38,800 --> 00:28:41,600 Speaker 1: I host on musicians who died at the age of seven. 439 00:28:42,080 --> 00:28:44,920 Speaker 1: Season two, featuring Jim Morrison is now available as the 440 00:28:45,000 --> 00:28:48,640 Speaker 1: season one with twelve episodes featuring Jimmy Hendrix. Subscribed to 441 00:28:48,640 --> 00:28:51,880 Speaker 1: The seven Club on Apple podcast, I Heart radio, app 442 00:28:52,160 --> 00:28:54,920 Speaker 1: or wherever you get your podcasts, and of course, this 443 00:28:54,960 --> 00:28:57,840 Speaker 1: episode was also brought to you by disgrace Land, the 444 00:28:57,840 --> 00:29:00,880 Speaker 1: award winning music and true crime podcast also hosted by 445 00:29:00,880 --> 00:29:04,360 Speaker 1: Yours Truly. Episodes on The Rolling Stones, Jerry Lewis, Cardi b, 446 00:29:04,640 --> 00:29:07,280 Speaker 1: The Grateful Dead, j Z Prince, and many many more 447 00:29:07,360 --> 00:29:10,160 Speaker 1: are all waiting for you right now. Just search disgrace 448 00:29:10,240 --> 00:29:14,000 Speaker 1: Land on Apple podcast, I Heeart radio app or wherever 449 00:29:14,040 --> 00:29:18,280 Speaker 1: you get your podcast all right. This episode of Blood 450 00:29:18,320 --> 00:29:20,719 Speaker 1: on the Tracks was written by Zeth Lundi and scored 451 00:29:20,760 --> 00:29:23,920 Speaker 1: in mixed by Matt Boden, Posted by me Jake Brennan. 452 00:29:24,120 --> 00:29:28,160 Speaker 1: Additional music and score elements by Ryan's Breaker and Henry Juneta. 453 00:29:28,560 --> 00:29:32,240 Speaker 1: This episode featured Lindsay cox Is Darlene Love. Blood on 454 00:29:32,280 --> 00:29:35,000 Speaker 1: the Tracks is produced by myself for Double Elvis and 455 00:29:35,120 --> 00:29:38,600 Speaker 1: partnership with I Heart Radio. Sources for this episode are 456 00:29:38,600 --> 00:29:41,240 Speaker 1: available at Double Elvis dot com on the Blood on 457 00:29:41,280 --> 00:29:43,880 Speaker 1: the Tracks series page. 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As always, you can find me blabbing about 468 00:30:11,360 --> 00:30:15,440 Speaker 1: other crazy rock stars on Disgrace Land and Club and 469 00:30:15,560 --> 00:30:18,160 Speaker 1: you can talk to me per Usual on Instagram and 470 00:30:18,320 --> 00:30:34,280 Speaker 1: Twitter at Disgrace, lad Rock Alozy Dad