Speaker 1: Blood on the Tracks is the production of I Heart
Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius,
Speaker 1: one of the most successful record producers of all time.
Speaker 1: He's now sitting behind bars, serving a nineteen years to
Speaker 1: life sentence for murder. This is his story told by
Speaker 1: his so called friends. This is the Special Agent Paul
Speaker 1: Ramon with the Federal Bureau of Investigation, working case number
Speaker 1: double oh four DAP ten DASH seven four one nine,
Speaker 1: case subject of Specter Philip Harvey. This information pertains to
Speaker 1: a period ending January nine. Interview subject is right Darlene
Speaker 1: a k A. Darlene Love. Interview number one Dash one
Speaker 1: two Dash two six three Dash six six six Recall
Speaker 1: number eight August twenty eight, two thousand eight. We'll all ego.
Speaker 1: Phil was twenty years old when he had his first
Speaker 1: two number one records. That will make anybody think they're
Speaker 1: bigger than they are. He was always a wheeler and
Speaker 1: a dealer. People were actually afraid of him. I was
Speaker 1: probably one of the only people who wasn't afraid of him.
Speaker 1: It didn't bother him that I wasn't afraid of him.
Speaker 1: Look could he do if he could kill me? Is
Speaker 1: that all I just didn't have any fear towards him,
Speaker 1: because I knew he had a big mouth and he
Speaker 1: wasn't going to go through with any of his threats.
Speaker 1: People that threaten you often just have a big mouth.
Speaker 1: Plus Phil needed me at that time. He didn't have Ronnie,
Speaker 1: he didn't have the Righteous Brothers. I was the only
Speaker 1: one who sang and gave him to number one records.
Speaker 1: So why are you going to kill somebody you love?
Speaker 1: Your bread and butter? Why are you gonna do anything
Speaker 1: that would leave so much mud on the tracks? Chapter eight,
Speaker 1: Phil Specter and Darlene Love. I thought my own story
Speaker 1: was over. I thought, maybe, just maybe I would gradually
Speaker 1: forget all the things I had done, the things I
Speaker 1: had been through, like they had been nothing more than
Speaker 1: a dream of fantasy. The ups, the downs, the good
Speaker 1: the bad. It was a struggle. My own story had
Speaker 1: been a struggle. My career was a struggle, and I
Speaker 1: just didn't want to struggle anymore. I sang professionally for years,
Speaker 1: since I was a teenager, years in the church year
Speaker 1: singing with the blossoms. Here's some Good Good, singing to
Speaker 1: the tune of Good Good Loving by the Good Good Blossoms,
Speaker 1: years singing behind Elvis, Sam Cook, Frank Sinatra, Chain Gang, Monster, Mash,
Speaker 1: That's Life, Shoot, Shoot say the name, and I probably
Speaker 1: stood at a mic in the studio behind them. And
Speaker 1: then all those years I've spent singing for Phil, or
Speaker 1: reeling from singing with Phil, or avoiding singing with Phil
Speaker 1: wasn't too Frank. I was in the right place at
Speaker 1: the right time, but we never got it right. It
Speaker 1: was never made right. I ghosted on so many record
Speaker 1: so much that sometimes even I felt like the ghost.
Speaker 1: No one knew it was me singing on those records.
Speaker 1: Half the time, I was never given proper credit. And
Speaker 1: then later when I was given a proper shot with
Speaker 1: my own name on the record label, I was put
Speaker 1: through an emotional ringer. So I stuck myself at the
Speaker 1: back of the stage again, stood in the shadows, again
Speaker 1: towards singing back up for Tom Jones and Dion Warwick.
Speaker 1: My marriage ended, I missed my kids. I was tired, frustrated,
Speaker 1: so I said, the hell with it? Who needs it?
Speaker 1: Who needs this story? This story that will never be right?
Speaker 1: And so I thought the story was over, But it
Speaker 1: wasn't over, far from it. The turning point happened in
Speaker 1: a bathroom, of all places, not even my own bathroom.
Speaker 1: I had put the singing behind me, took up odd
Speaker 1: jobs cleaning houses. The houses were nice, the money was steady,
Speaker 1: The money was instant, hundred dollars a day. The stress
Speaker 1: level was low. No contract. The only expectation that either
Speaker 1: I or the person who hired me had was that
Speaker 1: the house would look better when I left than when
Speaker 1: I arrived. Simple, easy. I provided for my kids, put
Speaker 1: food on the table and close on their backs. The
Speaker 1: house I was in on this particular day was in
Speaker 1: the hills of l a somewhere. It was Christmas time.
Speaker 1: I was in the bathroom cleaning the sink. The whole
Speaker 1: room smelled of disinfectant mint lemon. I had this lady's
Speaker 1: radio play and I was in the house alone, so
Speaker 1: I turned it up real loud, and the song came on.
Speaker 1: My song came on Christmas, Maybe Please Come Home. I
Speaker 1: stopped what I was doing, rubber gloves on my hands,
Speaker 1: one of them holding the toilet bowl brush. I pushed
Speaker 1: my hair back with the part of my forearm that
Speaker 1: wasn't covered in the soapy glove, and just stood there enjoyed.
Speaker 1: That moment took it all in. It's a beautiful song
Speaker 1: means so many things that so many people communicates so
Speaker 1: much about the holidays and distance and longing, about love
Speaker 1: lost and found so much and under three minutes in
Speaker 1: that moment, it brought me back. I closed my eyes
Speaker 1: and I was standing there and gold Star in Hollywood.
Speaker 1: It was nineteen sixty three, it was August. Los Angeles
Speaker 1: was in the middle of a heat wave. It was
Speaker 1: a hundred and three outside, but inside gold Star it
Speaker 1: was a meat lock or Phil always kept it cold.
Speaker 1: The song was a triumph, one of my triumphs, and
Speaker 1: the feeling the song gave me in that moment, the
Speaker 1: feeling it always gave me trumped any of the bad
Speaker 1: memories I was holding onto. The song gave me strength.
Speaker 1: It reminded me that no matter how low things got,
Speaker 1: how low I got, I never felt weak. I found
Speaker 1: strengthen my songs, my voice, And no matter how many
Speaker 1: times Phil tried to suppress me, to silence my name
Speaker 1: or my voice, he never made me feel less than
Speaker 1: because I wouldn't let him. That song reminded me that
Speaker 1: I had that power. Standing in the bathroom, I opened
Speaker 1: my eyes and looked at my face in the mirror
Speaker 1: as the song faded out. Trust me, the irony of
Speaker 1: listened to one of my greatest moments play on the
Speaker 1: radio in the house I had been hired to clean
Speaker 1: was not lost on me in that moment. In that moment,
Speaker 1: I knew what I had to do. I finished the job,
Speaker 1: clean the house. At the end of the shift, I
Speaker 1: told the woman who hired me that I wouldn't be
Speaker 1: coming back the next week. She didn't even know who
Speaker 1: I was. To her, I was merely someone who had
Speaker 1: answered an ad and dusted her house. She'd find someone else.
Speaker 1: I walked out that door and started looking for the
Speaker 1: next microphone. Years later, my performance of Christmas Baby, Please
Speaker 1: Come Home became an annual holiday tradition on David Letterman Show.
Speaker 1: Ladies and Gentlemen but one and only Darlene Lowe. Then
Speaker 1: everyone knew who I was. I knew my name, even
Speaker 1: that woman in the Hills of l A with the
Speaker 1: bathroom so clean you could eat off it. Phil started
Speaker 1: to call the Letterman Show and tell them he was
Speaker 1: going to sue. He was going to sue for repeated
Speaker 1: use of that song. His song. You see, because every
Speaker 1: session was a Phil Specter session, and every song was
Speaker 1: a Phil Spectra production. The TV studio knew they were
Speaker 1: in the clear, but Phil thought he could just scare them.
Speaker 1: That's what he did. He thought he could scare everybody,
Speaker 1: bend them to his will. He tried to make people
Speaker 1: think a lot of things, think that they were nothing
Speaker 1: before him, and they'd be nothing without him. But me,
Speaker 1: I was working well before I ever looked him in
Speaker 1: his eyes, and I'm still working. Phil Specter didn't scare
Speaker 1: me at all. If you had asked me back in
Speaker 1: three if Phil Specter would one day be behind bars
Speaker 1: for murder, I need to think about that for a moment.
Speaker 1: You try to really really evaluate another human being, and
Speaker 1: it's really difficult because I had my own premonitions about
Speaker 1: all these people I worked with. I remember telling Sam Cook,
Speaker 1: for instance. I told Sam, you'd better keep an eye
Speaker 1: out all these women you keep running around with. One
Speaker 1: of them is going to be the wrong woman, and
Speaker 1: then you're going to be in trouble. I just had
Speaker 1: a feeling with Sam that things wouldn't end well, not
Speaker 1: that I thought they would end that soon. With Phil,
Speaker 1: he seemed to be tempting fate. His obsession with guns
Speaker 1: was constant. He he even brought them to the studio.
Speaker 1: He take one from his pockets, swinging on his finger
Speaker 1: like he was an outlaw in a John Ford film. Now,
Speaker 1: remember I was the only person who would stand up
Speaker 1: to Phil on the regular. I had a husband, I
Speaker 1: had kids at home, I had a mortgage to pay.
Speaker 1: This was a job to me. This was life. This
Speaker 1: wasn't no game. So I was the one who would leave,
Speaker 1: walk out the room. If that gun goes off, it's
Speaker 1: not gonna shoot me. Guns don't shoot people shoot. Gold
Speaker 1: Star was crammed with people, musicians, singers, guests. If that
Speaker 1: gun fell out of his hand and hit the floor,
Speaker 1: guess what. The odds are pretty good that someone's gonna
Speaker 1: take a bullet. My prophecy on Phil was because the
Speaker 1: way he acted with guns. He always had guns in
Speaker 1: the studio, and he was always put them in his
Speaker 1: pocket and taking them out and flipping them around and
Speaker 1: all those things. I was the only one that would
Speaker 1: leave the session because I would say, listen, if he's
Speaker 1: gonna shoot somebody, it ain't gonna be me. Guns don't
Speaker 1: shoot people shoot. I just think it was stupid and
Speaker 1: dangerous to be in a recording studio. We had like
Speaker 1: fifteen to twenty musicians in the studio while he was
Speaker 1: doing this. If the gun were dropped and went off,
Speaker 1: guess what I stood my ground. If Phil bought a
Speaker 1: gun into the studio, I'd make and put it in
Speaker 1: his car. It was the gun or me. The studio
Speaker 1: wasn't big enough for both of us. So yeah, part
Speaker 1: of me wouldn't have been surprised if you told me
Speaker 1: back in sixty three that one day Phil's gun would
Speaker 1: go off and that there would be an innocent person
Speaker 1: on the other end of it. We the jury and
Speaker 1: the bad titled action find the defendant, Philip Spector, guilty
Speaker 1: of the crime of second degree murder a lot of culture.
Speaker 1: When I first met him, he didn't seem like that
Speaker 1: kind of a person, a crazy gun person. It was
Speaker 1: Jack Nietzsche that introduced me to Phil, recommended me. Jack
Speaker 1: knew everybody I was singing in the Blossoms. We did
Speaker 1: our own thing, but we did a lot of background singing.
Speaker 1: I joined the group when I was still in high school.
Speaker 1: Had to get my parents permission, so we got a reputation.
Speaker 1: Jack told Phil that we were exactly what he was
Speaker 1: looking for. Phil wasn't a bind. It was a bind
Speaker 1: of his own, but a bind. Nonetheless, he was planning
Speaker 1: for the Crystals to record this song. He's a rebel.
Speaker 1: But he got wind that Vicky Carr was about to
Speaker 1: record her own version of the song for Liberty Records.
Speaker 1: Phil wanted his version to hit the radio waves and
Speaker 1: the store shelves first. He wasn't gonna be one up
Speaker 1: by another label. The problem was, the Crystals were torn
Speaker 1: on the East Coast. Phil was in l A. He
Speaker 1: needed to cut that record now, So that's how we
Speaker 1: were brought in. I knew all thelong that we the Blossoms,
Speaker 1: were singing on a record that was going to be
Speaker 1: credited to someone else. I knew that from the jump. Now,
Speaker 1: maybe the Crystals weren't aware of that fact. Maybe they
Speaker 1: heard the song on the radio and maybe their jaws
Speaker 1: dropped to the floor and they realized it wasn't their
Speaker 1: voices on the track. I've been uncredited for so long
Speaker 1: at that point, it wasn't something that shocked me, to
Speaker 1: be honest, I wasn't even crazy about the song. Phil
Speaker 1: paid me three grand flat to cut that tune, so
Speaker 1: I was good. Phil was beside himself when our version
Speaker 1: went to number one, but he was even more pleased
Speaker 1: when Vicky Carr's version didn't even break the top one hundred. Now,
Speaker 1: one of the next songs we've recorded, He's the boy
Speaker 1: I love. That was supposed to be credited to me.
Speaker 1: That was supposed to have my name on it, my
Speaker 1: stage name, Darlene Love. Phil gave me that name, and
Speaker 1: I figured where he went through the motions to give
Speaker 1: me a catchy stage name. He would put it on
Speaker 1: the record label, DJs would say my name on air,
Speaker 1: kids would look at my name, maybe my picture on
Speaker 1: the sleeve while the forty five spun. But when he
Speaker 1: released it on his Phillies label, once again, it was
Speaker 1: credited to the Crystals. Remember to him, it was always
Speaker 1: a Phil Specter production. It didn't matter who sang on
Speaker 1: it or who played on it. It was his record,
Speaker 1: his show. He didn't care how anonymous any of us were.
Speaker 1: The tower my heart sunk. I was hurt. I was angry.
Speaker 1: It hurt that people were here in my record and
Speaker 1: didn't know it was me. It hurt that I had
Speaker 1: been lied to used. It hurt like hell. But I
Speaker 1: made sure that it didn't bring me down. I was
Speaker 1: determined to never give Phil Specter the satisfaction of knowing
Speaker 1: that he broke me. We'll be right back after this
Speaker 1: word word word. I may have had my own premonitions
Speaker 1: about Sam Cooke and Phil Specter, but none of us
Speaker 1: could have seen what was coming in late nine. That
Speaker 1: day in November hit all of us like a brick.
Speaker 1: We had been busy making other plans. As they said,
Speaker 1: we had wrapped recording the Christmas album that summer. A
Speaker 1: Christmas gift for you from Phil Specter, That's what he
Speaker 1: called it again, putting his name out in front of
Speaker 1: everyone else. We had recorded through a sweltering summer, put
Speaker 1: our all into it, an army of musicians Hal Blaine,
Speaker 1: Barney kessel Sonny Bono, Leon Russell, Tommy Tedesco. There was
Speaker 1: no room to move in gold Star. Heel loved Christmas
Speaker 1: music despite his Jewish background. He loved how big the
Speaker 1: music was, how emotional and sentimental it was. It was
Speaker 1: the Wagner lover inside of him. He also got a
Speaker 1: big kick out of the fact that Irvin Berlin, a
Speaker 1: fellow jew, was the one who wrote White Christmas. The
Speaker 1: atmosphere was very playful and very joyous, and I think
Speaker 1: that joy comes through on the record. It was one
Speaker 1: of the few times I enjoyed being in a studio
Speaker 1: with Phil. The record was packaged and set for release
Speaker 1: and an honest Friday, November twenty second, nineteen and then
Speaker 1: the bottom dropped out further details on an assassination attempt
Speaker 1: against President Kennedy in Dallas, Texas. President Kennedy was shot
Speaker 1: as he drove from Dallas Airport to downtown Dallas. Governor
Speaker 1: Connelly of Texas in the car with him was also shot.
Speaker 1: It is reported that three bullets rang out. A secret
Speaker 1: serviceman was heard to shout from the car, He's dead.
Speaker 1: President Kennedy was shot dead in Dallas. The record was
Speaker 1: pulled from Shells shortly after. Phil blame poor sales on
Speaker 1: the assassination. Phil was years old, his first t number
Speaker 1: one records, Oh Make Anybody Think They Are And then
Speaker 1: in early nineteen sixty four, the Beatles played Ed Sullivan.
Speaker 1: The landscape of America changed Draft Stickley in so many ways,
Speaker 1: and just a matter of months, that kind of change
Speaker 1: was difficult for Phil to navigate. The whole thing began
Speaker 1: a new pattern, a pattern of blame. We always had
Speaker 1: to have something or someone to blame for his failures.
Speaker 1: It was the singer's fault, or the label's fault, or
Speaker 1: the audience has fault, or it was the fault of
Speaker 1: an American president struck down in Dallas by God knows who.
Speaker 1: I never heard him except the blame for anything, even
Speaker 1: the Righteous Brothers. He hit gold with the Righteous Brothers
Speaker 1: in You've Lost That Love and feeling was his everest.
Speaker 1: It was his peak, that was his mountain high. It
Speaker 1: was almost double the length of a single at that time,
Speaker 1: and it's still dominated the charts. It got played on
Speaker 1: radio and TV more than any other song in the
Speaker 1: twentieth century. The twentieth century, that song was the twentieth
Speaker 1: century understand. As crazy as they went for that in
Speaker 1: the United States, they crazier in the UK. Andrew law
Speaker 1: Gold him, the Rolling Stones manager, took out a full
Speaker 1: page ad in the paper simply to sing the praises
Speaker 1: of the song and to phil He called it the
Speaker 1: last word and Tomorrow's sound today, and said that it
Speaker 1: was responsible for exposing the overall mediocrity in the music
Speaker 1: industry and even that level of fame, that level of
Speaker 1: success wasn't good enough for him. He weaseled his name
Speaker 1: under the songwriting credit of There As a Woman, the
Speaker 1: B side of the single that Bill Medley and Bob
Speaker 1: Hatfield had written on their own. They were irritated because
Speaker 1: it took a third of the tracks royalty money and
Speaker 1: funneled it directly to Fill even though he didn't write
Speaker 1: the thing. More drama followed. Of course, Bill and Bobby
Speaker 1: were fighting with each other and fighting with Phil, and
Speaker 1: then Phil released an album of the Righteous Brothers material
Speaker 1: that the duo didn't approve. The next thing, you know,
Speaker 1: they jumped ship and go to MGM. Phil is suing them,
Speaker 1: and then a few years later he's talking about them
Speaker 1: in Rolling Stone magazine, calling them untalented and saying they
Speaker 1: were really non intellectual and unable to comprehend success. They
Speaker 1: couldn't comprehend success. They were intalented. Man, leave it to Phil.
Speaker 1: Only Phil would have a hit that huge and then
Speaker 1: so easily mess it all up. I think those sorts
Speaker 1: of experiences led him to be even more controlling, controlling
Speaker 1: people like me, and that's why after I had finally
Speaker 1: cut myself free from Phil and signed a contract with
Speaker 1: Philadelphia International, with gamble and huff. He found a way
Speaker 1: to get me back without me even knowing. It was
Speaker 1: a power move, no doubt. I was in Philly for
Speaker 1: a few months. They'll have the same lawyer. They sold
Speaker 1: the contract back to him. I had a turning point
Speaker 1: that day in the studio in the early seventies recording Lord,
Speaker 1: if You're a woman. Not the turning point I had
Speaker 1: cleaning that woman's bathroom that would be years later. This
Speaker 1: was an opposite kind of turning point, the moment when
Speaker 1: I said to hell with it all, put my headphones
Speaker 1: on the mica sand and walked out of phil studio forever.
Speaker 1: I didn't see him again for twenty years. At the
Speaker 1: Rock and Roll Hall of Fame, they were given him
Speaker 1: a damn Award when he took him another twenty two
Speaker 1: years after his to give me mine, And despite the
Speaker 1: fact that he never gave me proper credit, that he
Speaker 1: bought back my contract just to get under my skin,
Speaker 1: that I had to sue him for royalties ode despite
Speaker 1: all of that, when I was inducted into the Rock
Speaker 1: and Roll Hall of Fame in two thousand and eleven,
Speaker 1: I thanked him. I called him a genius. At that
Speaker 1: point he was in jail, but I knew a word
Speaker 1: would get around to him. He'd hear my speech, and
Speaker 1: I wanted him to know that, no matter what he
Speaker 1: did to me, I was going to go out on
Speaker 1: top January, New York City, the Waldorf Astoria. Phil Specter
Speaker 1: never mentioned Darlene loved during his speech at the Rock
Speaker 1: and Roll Hall of Fame induction ceremony. He could see
Speaker 1: Darlene in the audience from his eagle eye position at
Speaker 1: the podium on stage. His three inch Cuban heels helped
Speaker 1: with the elevated advantage point. She applauded with the crowd,
Speaker 1: smiled at Phil from where she sat at her table.
Speaker 1: But Phil made sure that he kept the moment to himself.
Speaker 1: Just like the songs he recorded at gold Star, his
Speaker 1: moment on stage was a Phil Specter production. It had
Speaker 1: been a while years even since Phil made a public
Speaker 1: appearance like this. He had spent most of the nineteen
Speaker 1: eighties living the life of a reclusive midas who had
Speaker 1: lost his golden touch. In nine eighty six, he left
Speaker 1: the Hollywood mansion where he held court and where he
Speaker 1: held people hostage for two decades. He moved into another mansion,
Speaker 1: in Pasadena, this one previously owned by Robert Reid of
Speaker 1: the Brady Bunch. He said he was downsizing, but instinctively
Speaker 1: went in the opposite direction. He went big bulgarian, three stories,
Speaker 1: two acres or waterfall and a jacuzzi. The Mediterranean style
Speaker 1: mansion offered him ample room to never be seen by
Speaker 1: anyone else for as long as he wanted. Everything he
Speaker 1: did in the eighties was done in secret. He got
Speaker 1: married again, this time to his assistant turned girlfriend, Janezavola,
Speaker 1: and the couple had twins in nine two. He kept
Speaker 1: the marriage hidden from many. He really sold that image
Speaker 1: out of touch, hermetic, paranoid, cartoonish part Howard Hughes and
Speaker 1: part Howard the Duck with the three armed bodyguards that
Speaker 1: flanked him as he made his way to the stage
Speaker 1: at the Waldorf Historia that night. He didn't know it
Speaker 1: as he walked, wobbling from side to side from one
Speaker 1: too many Roman Cokes. But in less than two years
Speaker 1: he would find himself hold up in the presidential suite
Speaker 1: of the Waldorf Historia for a year as he mourned
Speaker 1: the death of his nine year old son, Philip Jr.
Speaker 1: From leukemia. Be my baby boomed over the house p A,
Speaker 1: but Phil didn't want to talk about be my baby.
Speaker 1: Phil was drunk on the moment, drunk on the attention,
Speaker 1: and drunk on whatever the mind eraser of choice was
Speaker 1: that day. He rambled on about George Bush, about the
Speaker 1: presidential inauguration that was only two days away. The audience
Speaker 1: shot each other confused, if not mildly entertained glances, and
Speaker 1: when he got around to talking about music, he skipped
Speaker 1: over all the people who helped get him to the place.
Speaker 1: He found himself that day, standing at the podium addressing
Speaker 1: a room full of industry giants, he didn't ring out
Speaker 1: the names of the singers and the musicians who had
Speaker 1: layered the bricks in the wall of sound. Instead, he
Speaker 1: pointed fingers. He pointed a finger at Bruce Springsteen, and
Speaker 1: then another at Eric Carmen, and yet another at Abba.
Speaker 1: Accused them of ripping him off. They all ripped him off.
Speaker 1: He played the stereotype to a t. His bodyguards had
Speaker 1: to cut him short and peel him away from the podium.
Speaker 1: Phil went home and got lost in his Pasadena mansion again.
Speaker 1: Down the road from Pasadena, twenty six year old actress
Speaker 1: Lana Clarkson wasn't paying any attention to the Rock and
Speaker 1: Roll Hall of Fame ceremony that night. The name phil
Speaker 1: Specter meant nothing to her. Instead, she looked at a
Speaker 1: poster mock up for her latest movie, Wizards of the
Speaker 1: Lost Kingdom Too. There was a castle in the distance.
Speaker 1: It lay at the end of a craggy cliff that
Speaker 1: was shaped like a lightning bolb. Two foreboding heads hung
Speaker 1: in the clouds. The dramatic tagline at the top of
Speaker 1: the poster read, Across the Sea of Dreams, behind the
Speaker 1: curtain of time lies the land of ultimate fantasy. Lana
Speaker 1: got lost for a moment looking at the image, got
Speaker 1: lost in the other worldliness of it. It was a
Speaker 1: place she had never seen before, the kind of place
Speaker 1: she would probably never see beyond the make believe of
Speaker 1: a Hollywood sound stage, a castle, a mansion, high in
Speaker 1: the clouds, at the end of a long and winding road.
Speaker 1: It really was a fantasy. She'd been eating out the
Speaker 1: actress thing for years now. She was tall, blonde, classically beautiful.
Speaker 1: Her parents had named her after Hollywood legend Lana Turner,
Speaker 1: and like Laana Turner, Lana Clarkson was the embodiment of
Speaker 1: tinseltown elegance. She brought a level of halcyon class to
Speaker 1: every minor role she could snagged. She had walked on
Speaker 1: On Three's Company in The Jefferson's On Night Writer, and
Speaker 1: Who's the Boss on the A Team in The Love Boat,
Speaker 1: but her movie career wasn't progressing beyond the B list
Speaker 1: or even the C list. Wizards of the Lost Kingdom
Speaker 1: Too was set for release in March, and she was
Speaker 1: worried how many theaters in town would even show it.
Speaker 1: At the poster would get hung up, she prepared herself
Speaker 1: for another straight to video co classic the right people
Speaker 1: would never see. Laana wasn't paying any attention to what
Speaker 1: was happening at the Waldorf Historia that night. She stared
Speaker 1: at the poster wondered if this would be the role
Speaker 1: that was different, the one that got her one step
Speaker 1: closer to something she never thought was attainable, the fabled
Speaker 1: mansion in the Clouds. It will be fourteen years later,
Speaker 1: almost to the day that Lana Clarkson approached that unattainable fantasy.
Speaker 1: She walked the craggy cliff walk to the door of
Speaker 1: a hilltop castle in Alhambra, Her host was Phil Specter.
Speaker 1: Even fourteen years later, she still knew nothing about it.
Speaker 1: The invitation was sudden, unexpected, and the castle was magical
Speaker 1: but also eerie. Something about it all didn't feel quite right.
Speaker 1: She was driven up the quarter mile driveway, but then
Speaker 1: she thought, what was he gonna do? What was he
Speaker 1: going to do to his bread and butter? Why would
Speaker 1: he do anything? It would leave so much blood on
Speaker 1: the tracks. This episode of Blood on the Tracks is
Speaker 1: brought to you by twenty seven Club, a podcast that
Speaker 1: I host on musicians who died at the age of seven.
Speaker 1: Season two, featuring Jim Morrison is now available as the
Speaker 1: season one with twelve episodes featuring Jimmy Hendrix. Subscribed to
Speaker 1: The seven Club on Apple podcast, I Heart radio, app
Speaker 1: or wherever you get your podcasts, and of course, this
Speaker 1: episode was also brought to you by disgrace Land, the
Speaker 1: award winning music and true crime podcast also hosted by
Speaker 1: Yours Truly. Episodes on The Rolling Stones, Jerry Lewis, Cardi b,
Speaker 1: The Grateful Dead, j Z Prince, and many many more
Speaker 1: are all waiting for you right now. Just search disgrace
Speaker 1: Land on Apple podcast, I Heeart radio app or wherever
Speaker 1: you get your podcast all right. This episode of Blood
Speaker 1: on the Tracks was written by Zeth Lundi and scored
Speaker 1: in mixed by Matt Boden, Posted by me Jake Brennan.
Speaker 1: Additional music and score elements by Ryan's Breaker and Henry Juneta.
Speaker 1: This episode featured Lindsay cox Is Darlene Love. Blood on
Speaker 1: the Tracks is produced by myself for Double Elvis and
Speaker 1: partnership with I Heart Radio. Sources for this episode are
Speaker 1: available at Double Elvis dot com on the Blood on
Speaker 1: the Tracks series page. If you like it, you hear,
Speaker 1: please be sure to subscribe the Blood on the Tracks
Speaker 1: on Apple podcast, I Heart Radio app wherever you get
Speaker 1: your podcasts. And if you'd like to win a free
Speaker 1: Blood on the Tracks poster designed by Nike Gonzalez and
Speaker 1: leave a review for Blood on the Tracks on Apple Podcast,
Speaker 1: you can hashtag blood on the Tracks on social media
Speaker 1: you leave your review there. We'll pick two winners each
Speaker 1: week and announced them on the Double Elvis Instagram page
Speaker 1: that's at Double Elvis. Go ahead and get that a fall,
Speaker 1: all right. As always, you can find me blabbing about
Speaker 1: other crazy rock stars on Disgrace Land and Club and
Speaker 1: you can talk to me per Usual on Instagram and
Speaker 1: Twitter at Disgrace, lad Rock Alozy Dad