1 00:00:00,080 --> 00:00:02,280 Speaker 1: Blood on the Tracks is the production of I Heart 2 00:00:02,360 --> 00:00:06,800 Speaker 1: Radio and Double Elvis. Bob Dylan was a musical genius 3 00:00:06,840 --> 00:00:09,680 Speaker 1: and one of the greatest songwriters of all time. He 4 00:00:09,760 --> 00:00:13,920 Speaker 1: didn't follow leaders. He chased that thin, wild mercury sound. 5 00:00:14,480 --> 00:00:17,520 Speaker 1: He never looked back. Even as the times changed, and 6 00:00:17,600 --> 00:00:21,680 Speaker 1: as the times changed, Bob Dylan changed. He tried on 7 00:00:21,800 --> 00:00:25,880 Speaker 1: and discarded identities like they were mass. He transformed. He 8 00:00:26,000 --> 00:00:30,120 Speaker 1: transfigured in somewhere along the way, the Bob Dylan that 9 00:00:30,160 --> 00:00:40,400 Speaker 1: you thought you knew died. This is his story. This 10 00:00:40,560 --> 00:00:45,080 Speaker 1: is Dr Ed Sailor. It is August five, nine, day 11 00:00:45,159 --> 00:00:47,720 Speaker 1: number eight. Here in my home in Middletown, New York, 12 00:00:48,320 --> 00:00:51,280 Speaker 1: I am once again reviewing the patient Robert Zimmerman, a 13 00:00:51,440 --> 00:00:54,560 Speaker 1: k a. Bob Dylan, although I don't think he'd answered 14 00:00:54,600 --> 00:00:58,200 Speaker 1: to that name at the moment. After yesterday's concerns that 15 00:00:58,240 --> 00:01:02,480 Speaker 1: Bob was experiencing some sort of delusional disorder, I'm disappointed 16 00:01:02,480 --> 00:01:05,120 Speaker 1: to confirm we seem to be heading further down that road. 17 00:01:05,720 --> 00:01:08,840 Speaker 1: He seems extremely agitated. I think we might have to 18 00:01:08,880 --> 00:01:10,640 Speaker 1: take him off as met soon to see if he 19 00:01:10,680 --> 00:01:14,000 Speaker 1: can manage the pain, because right now he's struggling with 20 00:01:14,080 --> 00:01:25,679 Speaker 1: some sort of identity crisis. Lucky is my name. I 21 00:01:25,720 --> 00:01:27,760 Speaker 1: won't answer to any other name you have for me, 22 00:01:29,000 --> 00:01:31,520 Speaker 1: any other name you or I might have given myself. 23 00:01:33,520 --> 00:01:37,200 Speaker 1: I am no longer he or whatever he was. I 24 00:01:37,240 --> 00:01:42,240 Speaker 1: am Lucky, part of the Wilbury people, the traveling Wilbury people. 25 00:01:43,480 --> 00:01:46,760 Speaker 1: We are another species, another type of person to you 26 00:01:47,120 --> 00:01:51,480 Speaker 1: or your kind. I'm not saying we're better, just different, 27 00:01:52,000 --> 00:01:56,800 Speaker 1: that's all. We all have our good and bad traits. 28 00:01:57,720 --> 00:02:01,960 Speaker 1: It's just ours are different. H How did I become 29 00:02:01,960 --> 00:02:07,920 Speaker 1: a Wilberry? Simple? The usual way transfiguration? Of course, haven't 30 00:02:07,960 --> 00:02:11,320 Speaker 1: you been paying attention? Not everyone can become a Wilbery, 31 00:02:11,360 --> 00:02:14,120 Speaker 1: though you have to have a certain set of skills. 32 00:02:15,120 --> 00:02:18,320 Speaker 1: There has to be a certain set of circumstances, and 33 00:02:18,400 --> 00:02:21,040 Speaker 1: of course there has to be a lot of blood 34 00:02:21,560 --> 00:03:00,079 Speaker 1: on the tracks. Chapter eight, Bob Dylan is a Lucky Wilberry. 35 00:03:00,880 --> 00:03:04,440 Speaker 1: I can't remember what I was gonna say. I'll take 36 00:03:04,480 --> 00:03:09,560 Speaker 1: another hit man. Can anyone remember the room number? I 37 00:03:09,600 --> 00:03:14,560 Speaker 1: need some I need some food. Can we call room service? 38 00:03:16,080 --> 00:03:19,359 Speaker 1: Can we get some drinks in here? Can we get 39 00:03:19,360 --> 00:03:22,880 Speaker 1: the queen in here? She's just around the corner right, 40 00:03:24,080 --> 00:03:28,880 Speaker 1: Let's call up her, Majesty but wait, not yet, I'll 41 00:03:28,880 --> 00:03:36,600 Speaker 1: take another hit. Here's a brief history of the Wilbery people, 42 00:03:37,360 --> 00:03:42,640 Speaker 1: My people people. This is taken from research conducted at 43 00:03:42,680 --> 00:03:46,480 Speaker 1: the esteemed University of Krakatoa and also from my own 44 00:03:46,520 --> 00:03:53,320 Speaker 1: personal recollection. So listen up. The original Wilberries were stationary 45 00:03:53,360 --> 00:03:58,120 Speaker 1: people who, realizing that their civilization could not stand still forever, 46 00:03:58,200 --> 00:04:01,840 Speaker 1: began to move. Motion became our way of life, and 47 00:04:02,160 --> 00:04:06,240 Speaker 1: on those journeys we became inspired, inspired to create music. 48 00:04:07,960 --> 00:04:11,000 Speaker 1: Somehow we created music despite a lack of an over 49 00:04:11,040 --> 00:04:17,159 Speaker 1: indulgent marketing budget, sycophantic session musicians, and opulent recording studios. 50 00:04:18,680 --> 00:04:22,320 Speaker 1: While the Wilberry people would become exceptional at music, there 51 00:04:22,360 --> 00:04:25,680 Speaker 1: was a war coming during the Great War with the 52 00:04:25,720 --> 00:04:28,839 Speaker 1: record executive people, which lasted a hundred years or more. 53 00:04:29,480 --> 00:04:33,279 Speaker 1: Most of the Wilberries were killed. They are always in 54 00:04:33,279 --> 00:04:38,120 Speaker 1: our hearts. Thankfully, some of the Wilberies survived, and some 55 00:04:38,240 --> 00:04:40,760 Speaker 1: years later a few of them got together to continue 56 00:04:40,760 --> 00:04:45,080 Speaker 1: the great Wilberry tradition of creating great music. Their names 57 00:04:45,960 --> 00:04:52,840 Speaker 1: Nelson Otis, Lefty, Charlie T. Jr. And me Lucky Wilberry. 58 00:04:53,240 --> 00:04:58,440 Speaker 1: Lucky is my name. Our time together started as organically 59 00:04:58,480 --> 00:05:01,960 Speaker 1: as you can get. Nelson, who at the time was 60 00:05:01,960 --> 00:05:04,680 Speaker 1: playing the role of George Harrison, called me up to 61 00:05:04,720 --> 00:05:07,080 Speaker 1: say he needed a studio to cut an extra song 62 00:05:07,200 --> 00:05:10,680 Speaker 1: to promote his new album, Cloud Nine. He wanted a 63 00:05:10,720 --> 00:05:13,000 Speaker 1: B side for a single he was putting out, so 64 00:05:13,440 --> 00:05:17,000 Speaker 1: I offered him the studio at my home. He showed 65 00:05:17,040 --> 00:05:20,520 Speaker 1: up with company, though Otis, who some of you might 66 00:05:20,560 --> 00:05:24,240 Speaker 1: know as Jeff Lynn, was with him. Otis was producing 67 00:05:24,279 --> 00:05:27,720 Speaker 1: Cloud nine, but Nelson had left his guitar at Charlie's house. 68 00:05:28,480 --> 00:05:32,680 Speaker 1: Now Charlie goes by the name of Tom Petty. I 69 00:05:32,800 --> 00:05:36,680 Speaker 1: told you a little about him already, So anyway, after 70 00:05:36,720 --> 00:05:40,360 Speaker 1: handing over the guitar, Charlie tagged along too. We are 71 00:05:40,440 --> 00:05:46,120 Speaker 1: another species. Later we were also joined by Lefty, who 72 00:05:46,200 --> 00:05:48,960 Speaker 1: for years had been performing under the name Roy Orbison. 73 00:05:49,960 --> 00:05:54,000 Speaker 1: Otis was producing the next Lefty record. Otis was so 74 00:05:54,160 --> 00:05:58,920 Speaker 1: in demand he should have been called Busy Wilberry. As 75 00:05:59,000 --> 00:06:02,000 Speaker 1: for me, I struggled with inspiration at that point of 76 00:06:02,040 --> 00:06:04,480 Speaker 1: my life. So when it was suggested they go into 77 00:06:04,520 --> 00:06:07,880 Speaker 1: the studio and helped Nelson with this B side, I 78 00:06:08,000 --> 00:06:11,880 Speaker 1: left them to it for a while. I preferred to barbecue. 79 00:06:13,040 --> 00:06:15,640 Speaker 1: I wanted to play host for my fellow Wilberry guests. 80 00:06:16,360 --> 00:06:20,919 Speaker 1: Playing host that's a very big part of our culture people. 81 00:06:22,920 --> 00:06:26,400 Speaker 1: But I couldn't help myself. They were all sitting around 82 00:06:26,440 --> 00:06:29,599 Speaker 1: working on this thing that Nelson was writing, trading guitar 83 00:06:29,680 --> 00:06:34,719 Speaker 1: riffs back and forth, talking about lyrics, and me, I 84 00:06:34,839 --> 00:06:40,680 Speaker 1: was grilling up some beef skills. I got more and 85 00:06:40,720 --> 00:06:44,440 Speaker 1: more agitated as they were throwing ideas around. I began 86 00:06:44,480 --> 00:06:47,039 Speaker 1: to press the meat into the grill harder and harder. 87 00:06:47,920 --> 00:06:51,760 Speaker 1: It's sizzled loudly, so we go from that part into 88 00:06:51,800 --> 00:06:55,359 Speaker 1: the chorus. I heard oh To say, that's gonna sound great. 89 00:06:56,920 --> 00:06:58,880 Speaker 1: The sizzling in front of me was getting louder and 90 00:06:58,920 --> 00:07:01,600 Speaker 1: louder now, and I was getting more and more annoyed. 91 00:07:02,839 --> 00:07:06,359 Speaker 1: That lick, that's it, I heard Nelson say over the 92 00:07:06,360 --> 00:07:10,200 Speaker 1: burning beef. The sizzling was reaching an ear splitting volume 93 00:07:10,240 --> 00:07:13,040 Speaker 1: for me. Now, the louder and louder it grew, the 94 00:07:13,080 --> 00:07:17,240 Speaker 1: more annoyed I got. I didn't know why I couldn't 95 00:07:17,320 --> 00:07:22,080 Speaker 1: articulate it. Haven't you been paying attention? And then it 96 00:07:22,160 --> 00:07:27,120 Speaker 1: hit me. I remembered another life, different existence, an album 97 00:07:27,120 --> 00:07:31,640 Speaker 1: called Down in the Groove. I could feel another form 98 00:07:31,720 --> 00:07:35,880 Speaker 1: of myself, a form which was disinterested in music, that 99 00:07:35,960 --> 00:07:38,720 Speaker 1: had fallen out of love with it altogether. I won't 100 00:07:38,720 --> 00:07:43,400 Speaker 1: answer to any other name. I realized why I was 101 00:07:43,440 --> 00:07:47,160 Speaker 1: so annoyed by not taking part of what was happening 102 00:07:47,240 --> 00:07:50,360 Speaker 1: merely feet away from me. I was becoming that different 103 00:07:50,440 --> 00:07:54,360 Speaker 1: version of myself, the poorer version of myself. I am 104 00:07:54,400 --> 00:07:58,760 Speaker 1: no longer he or whatever he was. I slammed the 105 00:07:58,760 --> 00:08:01,720 Speaker 1: barbecue lid shut stormed into the garage where the other 106 00:08:01,720 --> 00:08:07,560 Speaker 1: Wilberries were playing. What's this one called? I asked. Nelson 107 00:08:07,640 --> 00:08:10,960 Speaker 1: looked up at me and said, I don't know. His 108 00:08:11,040 --> 00:08:13,640 Speaker 1: eyes drifted up behind me to a cardboard box on 109 00:08:13,680 --> 00:08:16,920 Speaker 1: the shelf that had a label on it. He read 110 00:08:16,960 --> 00:08:21,680 Speaker 1: it aloud, handle with care. He said we should call 111 00:08:21,720 --> 00:08:24,520 Speaker 1: it that Buddhist at him, And that's how we got 112 00:08:24,520 --> 00:08:28,040 Speaker 1: our first song. It was a hit, a big hit. 113 00:08:29,600 --> 00:08:33,480 Speaker 1: We knew we'd struck upon something that day. The brilliance 114 00:08:33,520 --> 00:08:39,160 Speaker 1: of it was that it wasn't planned a species. See, 115 00:08:40,000 --> 00:08:42,240 Speaker 1: you can plan all this stuff and get it all 116 00:08:42,280 --> 00:08:46,680 Speaker 1: worked out, but music doesn't work like that. Magic comes 117 00:08:46,679 --> 00:08:50,800 Speaker 1: when you're spontaneous. If we'd have planned it, it would 118 00:08:50,840 --> 00:08:54,360 Speaker 1: have never happened. Nelson took the song to his record 119 00:08:54,400 --> 00:08:56,600 Speaker 1: company and they told him it was too good to 120 00:08:56,600 --> 00:08:58,760 Speaker 1: be a B sideed In fact, it was so good 121 00:08:58,800 --> 00:09:03,120 Speaker 1: they wanted more, and so did we. We went to 122 00:09:03,200 --> 00:09:06,240 Speaker 1: Dave Stewart's house, you know him, He's one half of 123 00:09:06,240 --> 00:09:10,280 Speaker 1: the Rhythmics. We recorded an album there, in a couple 124 00:09:10,320 --> 00:09:15,160 Speaker 1: other places. Man I loved it. We cut tunes all 125 00:09:15,160 --> 00:09:17,679 Speaker 1: over the place. One we cut in the kitchen with 126 00:09:17,760 --> 00:09:21,720 Speaker 1: our drummer, Sideberry, not one of the Wilbury people, but 127 00:09:22,040 --> 00:09:25,520 Speaker 1: an honorary citizen who played drums on the fridge to 128 00:09:25,600 --> 00:09:31,079 Speaker 1: travel in Wilbury people. After recording, we'd listened to lefties 129 00:09:31,160 --> 00:09:34,760 Speaker 1: stories of how he used to play with Elvis. Man 130 00:09:35,240 --> 00:09:38,200 Speaker 1: I was a huge Elvis fan. That was a thrill 131 00:09:38,280 --> 00:09:42,720 Speaker 1: for me. We'd toss around ideas and trade little parts. 132 00:09:43,520 --> 00:09:46,880 Speaker 1: I felt so at home, like I found my true existence, 133 00:09:47,520 --> 00:09:50,800 Speaker 1: that other existence that I felt stood at the barbecue 134 00:09:50,880 --> 00:09:54,839 Speaker 1: that was so far removed from what I was. It 135 00:09:54,840 --> 00:09:57,600 Speaker 1: felt like a different person in a different time. Any 136 00:09:57,640 --> 00:10:02,280 Speaker 1: other name you I might have given myself. Yeah, I 137 00:10:02,320 --> 00:10:08,760 Speaker 1: felt sorry for him. Lucky is my name as Lucky. 138 00:10:08,880 --> 00:10:12,560 Speaker 1: I felt I'd found myself, But I couldn't shake this presence. 139 00:10:13,679 --> 00:10:16,559 Speaker 1: I thought about the other lives I've lived, other lives 140 00:10:16,559 --> 00:10:20,559 Speaker 1: where I had been with bands. They were different. There 141 00:10:20,640 --> 00:10:56,400 Speaker 1: was a checkered history there, especially on Thanksgiving, and I'd 142 00:10:56,440 --> 00:11:01,560 Speaker 1: take another drag. The smoke fills my lungs. My brain 143 00:11:01,640 --> 00:11:06,320 Speaker 1: is swimming. It feels like it's slowly lifting off. I 144 00:11:06,400 --> 00:11:08,440 Speaker 1: turned to George next to me, and he's sitting on 145 00:11:08,480 --> 00:11:12,040 Speaker 1: the expensive king size bed while a gold wall twinkles 146 00:11:12,080 --> 00:11:15,240 Speaker 1: behind him. There's a knock at the door and we 147 00:11:15,320 --> 00:11:23,720 Speaker 1: all freeze as fear engulfs the room. All that Wilbury 148 00:11:23,800 --> 00:11:25,880 Speaker 1: talks got me thinking about the time I spent with 149 00:11:25,920 --> 00:11:29,480 Speaker 1: the band again. Had some good times with the band, 150 00:11:30,559 --> 00:11:33,880 Speaker 1: some less than good times too. I mean, we always 151 00:11:33,920 --> 00:11:37,280 Speaker 1: stuck together in the bad times. They were there with 152 00:11:37,320 --> 00:11:39,800 Speaker 1: me on some rough tours and some good ones too. 153 00:11:41,400 --> 00:11:43,680 Speaker 1: But after their time with me, they became a real 154 00:11:43,760 --> 00:11:48,200 Speaker 1: big deal. They forged their own way, they invented themselves. 155 00:11:49,720 --> 00:11:56,480 Speaker 1: I respect that transfiguration. Of course, somewhere down the line 156 00:11:56,520 --> 00:11:59,840 Speaker 1: they decided to call it a day. I was always 157 00:12:00,000 --> 00:12:03,280 Speaker 1: ellis of that. To escape from a band when you're 158 00:12:03,320 --> 00:12:07,160 Speaker 1: ready to escape, when you're on your own, like me, 159 00:12:08,080 --> 00:12:10,760 Speaker 1: you have to play your hand. You can't get rid 160 00:12:10,800 --> 00:12:14,160 Speaker 1: of it. You can't quit yourself even if you try. 161 00:12:14,480 --> 00:12:19,960 Speaker 1: Believe me, I won't answer to any other name. The 162 00:12:20,000 --> 00:12:22,960 Speaker 1: band wanted to get off the road because Richard Manuel 163 00:12:23,120 --> 00:12:26,920 Speaker 1: injured himself in a boating accident. The road can be 164 00:12:26,960 --> 00:12:30,360 Speaker 1: hard when you've been on it awhile. You either get 165 00:12:30,360 --> 00:12:33,720 Speaker 1: addicted to it or it swallows you up. For the band, 166 00:12:33,760 --> 00:12:36,240 Speaker 1: I guess they were getting out before they became slaves 167 00:12:36,280 --> 00:12:40,640 Speaker 1: to it. We are another species. There was to be 168 00:12:40,679 --> 00:12:44,360 Speaker 1: a final goodbye, though, one last hurrah, one last gig, 169 00:12:44,679 --> 00:12:48,440 Speaker 1: one last waltz. That's what they ended up calling it, 170 00:12:49,480 --> 00:12:55,400 Speaker 1: the Last Waltz. This was back in They decided that 171 00:12:55,440 --> 00:12:58,199 Speaker 1: this farewell gig should be at winter Land Ballroom, the 172 00:12:58,320 --> 00:13:00,720 Speaker 1: venue in which they've made their debut as the band. 173 00:13:00,960 --> 00:13:05,080 Speaker 1: Back in. A load of us were asked to perform 174 00:13:05,160 --> 00:13:10,200 Speaker 1: with them, Muddy Waters, Neil Young, dr John Joni Mitchell, 175 00:13:10,960 --> 00:13:15,040 Speaker 1: an unbelievable mix of artists. But I wasn't feeling it. 176 00:13:16,200 --> 00:13:18,840 Speaker 1: I don't know. I had to think it over. We 177 00:13:18,920 --> 00:13:24,640 Speaker 1: all have our good and bad trads. Look, this was 178 00:13:24,679 --> 00:13:27,080 Speaker 1: back when I was going through a divorce and working 179 00:13:27,080 --> 00:13:30,880 Speaker 1: on my film. Ronaldo and Clara. That film was taking 180 00:13:30,880 --> 00:13:34,960 Speaker 1: my creative focus. I was obsessed with it. The last 181 00:13:35,000 --> 00:13:37,560 Speaker 1: thing I really wanted to do was play happy show 182 00:13:37,600 --> 00:13:41,880 Speaker 1: biz families at a glitzy event. Plus Martin Scorsese was 183 00:13:41,920 --> 00:13:45,360 Speaker 1: going to film the whole gig. Marty had released Taxi 184 00:13:45,440 --> 00:13:48,000 Speaker 1: Driver that year. He was on top of his game, 185 00:13:48,240 --> 00:13:51,760 Speaker 1: but I was working on a film too. I wanted 186 00:13:51,800 --> 00:13:54,319 Speaker 1: to pay my respects to the band, but I wasn't 187 00:13:54,320 --> 00:13:58,360 Speaker 1: interested in being in two movies at the same time. Eventually, 188 00:13:58,440 --> 00:14:00,600 Speaker 1: they convinced me to be a part of It has 189 00:14:00,679 --> 00:14:05,679 Speaker 1: to be a certain set of circumstances. The deal was 190 00:14:05,720 --> 00:14:08,800 Speaker 1: they'd only used three of my songs for the film. 191 00:14:08,840 --> 00:14:13,440 Speaker 1: No more Fine. I got on a plane bound for 192 00:14:13,480 --> 00:14:16,920 Speaker 1: San Francisco, but I traveled with my lawyer or in. 193 00:14:18,000 --> 00:14:22,200 Speaker 1: Sometime later, I would curse that decision. When we got there, 194 00:14:22,200 --> 00:14:26,760 Speaker 1: it was unlike anything I've seen before. Five thousand Turkey 195 00:14:26,800 --> 00:14:31,000 Speaker 1: dinners backstage, ready for the crowd. It was Thanksgiving after all, 196 00:14:31,520 --> 00:14:33,800 Speaker 1: and the only thing that outnumbered the Turkey Dinners was 197 00:14:33,840 --> 00:14:38,800 Speaker 1: the coke man. It was everywhere. It was like a blizzard. Man, 198 00:14:39,680 --> 00:14:42,000 Speaker 1: I swear it was in the air that day. Just 199 00:14:42,160 --> 00:14:48,200 Speaker 1: breathing got you fucked up. We are another species. Marty 200 00:14:48,320 --> 00:14:52,360 Speaker 1: was constantly on the stuff line after line. Neil young too. 201 00:14:53,240 --> 00:14:55,160 Speaker 1: I heard they had to edit a smudge of coke 202 00:14:55,240 --> 00:14:58,960 Speaker 1: from his nose in post production, but for some reason 203 00:14:59,000 --> 00:15:02,000 Speaker 1: they didn't blur out the ridiculous Kama Sutra T shirt 204 00:15:02,040 --> 00:15:06,520 Speaker 1: he had on. The gig itself was great. The atmosphere 205 00:15:06,560 --> 00:15:11,320 Speaker 1: was incredible. Now. I'm not usually into nostalgia. I made 206 00:15:11,320 --> 00:15:13,520 Speaker 1: a film called Don't Look Back for Crying Out Loud, 207 00:15:14,320 --> 00:15:17,160 Speaker 1: but nostalgia can grab ahold of you and refuse to 208 00:15:17,240 --> 00:15:22,120 Speaker 1: let go that night. However, with the band, it felt 209 00:15:22,120 --> 00:15:26,360 Speaker 1: like the right way to say goodbye. That is until 210 00:15:26,400 --> 00:15:31,280 Speaker 1: I changed my mind. I had this sudden realization. You 211 00:15:31,320 --> 00:15:34,000 Speaker 1: know what, I didn't want to be in the film. 212 00:15:34,040 --> 00:15:39,080 Speaker 1: I am no longer he or whatever he was like. 213 00:15:39,200 --> 00:15:41,240 Speaker 1: I said, I didn't want to be in two movies 214 00:15:41,280 --> 00:15:46,400 Speaker 1: at once. It didn't feel right artistically. I didn't even 215 00:15:46,440 --> 00:15:48,640 Speaker 1: want the three songs we had agreed to be used 216 00:15:48,640 --> 00:15:52,200 Speaker 1: in the final film. But I can't change my mind. 217 00:15:52,720 --> 00:15:58,720 Speaker 1: We all have our good and bad traits. After the show, 218 00:15:58,760 --> 00:16:01,880 Speaker 1: I found Marty, I can't be in your picture. I 219 00:16:01,920 --> 00:16:06,480 Speaker 1: told him, are you fucking kidding me? He responded, Marty 220 00:16:06,560 --> 00:16:09,640 Speaker 1: cusses like the characters in his movies. Man, he's the 221 00:16:09,640 --> 00:16:13,440 Speaker 1: real deal. And then he said, you are joking, right. 222 00:16:14,720 --> 00:16:18,920 Speaker 1: I searched for an answer for him. I said, you know, 223 00:16:19,000 --> 00:16:21,880 Speaker 1: I've got this other film coming out and uh. I 224 00:16:21,920 --> 00:16:25,520 Speaker 1: looked over at Robbie Robertson. He was turning pale, a 225 00:16:25,640 --> 00:16:28,080 Speaker 1: crisp white, in fact, as white as the coke on 226 00:16:28,120 --> 00:16:30,920 Speaker 1: the table in front of Marty. I didn't even get 227 00:16:30,920 --> 00:16:35,080 Speaker 1: to finish my sentence. Marty barked back at me, your 228 00:16:35,160 --> 00:16:38,560 Speaker 1: songs are going in the fucking film. He was angry, now, 229 00:16:39,280 --> 00:16:41,920 Speaker 1: drawing closer to me. I could feel his breath on 230 00:16:42,000 --> 00:16:47,120 Speaker 1: my face. I was furious too, Man, I'd come here 231 00:16:47,160 --> 00:16:49,840 Speaker 1: to pay my respects and play the gig. I don't 232 00:16:49,840 --> 00:16:53,040 Speaker 1: give a funk about the film. It wasn't my film. 233 00:16:53,160 --> 00:16:57,400 Speaker 1: You have to have a certain set of skills. I 234 00:16:57,520 --> 00:17:00,480 Speaker 1: stormed off with my lawyer, Or, and we went to 235 00:17:00,520 --> 00:17:03,680 Speaker 1: my dressing room. I started on the whiskey and smokes. 236 00:17:05,119 --> 00:17:08,679 Speaker 1: What can we do, I asked Oran. His reply was 237 00:17:08,760 --> 00:17:14,359 Speaker 1: essentially nothing. We could do nothing. The film was technically theirs, 238 00:17:15,160 --> 00:17:19,480 Speaker 1: it had been shot and that was that. Unless Or 239 00:17:19,680 --> 00:17:24,400 Speaker 1: joked we take the tapes. We looked at each other. 240 00:17:24,680 --> 00:17:26,560 Speaker 1: Next thing, I knew we were running out the door. 241 00:17:27,000 --> 00:17:31,680 Speaker 1: After another shot of whiskey. That is, I smashed open 242 00:17:31,760 --> 00:17:34,760 Speaker 1: the door of the production truck. Did you film me? 243 00:17:34,960 --> 00:17:37,439 Speaker 1: I yelled at the director of photography or whoever was 244 00:17:37,480 --> 00:17:40,159 Speaker 1: sitting in there. He didn't have a clue what was 245 00:17:40,200 --> 00:17:45,880 Speaker 1: going on? Haven't you been paying attention? Boring rifled through 246 00:17:45,920 --> 00:17:49,280 Speaker 1: spools of film, picking up a couple of heavy looking cases. 247 00:17:50,240 --> 00:17:53,240 Speaker 1: They're here, he announced, and then told the director we'd 248 00:17:53,240 --> 00:17:57,840 Speaker 1: be taking them there. Mr Scorseses, this guy said, his 249 00:17:57,960 --> 00:18:01,400 Speaker 1: voice all wavy and thin. I was about to say, 250 00:18:01,440 --> 00:18:03,399 Speaker 1: I didn't give a funk who they belonged to, and 251 00:18:03,880 --> 00:18:06,439 Speaker 1: I'll be damned if the man himself hadn't just appeared 252 00:18:06,440 --> 00:18:10,679 Speaker 1: in the doorway. Marty looked even more angry than before. 253 00:18:11,480 --> 00:18:14,600 Speaker 1: He'd been stewing over our previous words, and, by the 254 00:18:14,640 --> 00:18:17,600 Speaker 1: looks of it, had been nursing his indignation with more cocaine. 255 00:18:18,920 --> 00:18:22,280 Speaker 1: He told us to hand over the tapes. Oran clutched 256 00:18:22,320 --> 00:18:25,600 Speaker 1: them closer to his chest. I told him to back off, 257 00:18:25,640 --> 00:18:29,640 Speaker 1: otherwise I dashed him against the wall. Marty went for Oran, 258 00:18:30,040 --> 00:18:32,240 Speaker 1: Orange jumped out of his way. Which caused the director 259 00:18:32,280 --> 00:18:35,520 Speaker 1: to crash into a couple of monitors. Oran and I 260 00:18:35,640 --> 00:18:37,960 Speaker 1: ran out of the truck, the tapes in his hands. 261 00:18:38,480 --> 00:18:41,880 Speaker 1: Marty sprinting after us that powder had turned him into 262 00:18:41,880 --> 00:18:48,359 Speaker 1: an Olympic athlete man transfiguration. Of course, he tackled or in. 263 00:18:48,920 --> 00:18:52,720 Speaker 1: The tapes fell on the ballroom's parking lot. We all 264 00:18:52,720 --> 00:18:57,160 Speaker 1: caught our breath. Marty turned to me, the tapes back 265 00:18:57,200 --> 00:19:00,320 Speaker 1: in his hands. Now you really think the is all 266 00:19:00,359 --> 00:19:04,800 Speaker 1: about you, don't you? He said. I am lucky. He 267 00:19:04,920 --> 00:19:07,200 Speaker 1: kind of had a point, but what he said next 268 00:19:07,280 --> 00:19:12,639 Speaker 1: surprised me. Well, you're right, he said, and he sighed heavily. 269 00:19:13,560 --> 00:19:17,359 Speaker 1: The truth is we need you. Bob Warner Brothers won't 270 00:19:17,359 --> 00:19:19,480 Speaker 1: give us the money if you're not in it. And 271 00:19:19,560 --> 00:19:24,320 Speaker 1: that's the truth. Now, I've had a difficult relationship with 272 00:19:24,359 --> 00:19:27,000 Speaker 1: the truth. I didn't know whether to believe him or not. 273 00:19:27,119 --> 00:19:30,479 Speaker 1: But you know, truth is all relative as far as 274 00:19:30,520 --> 00:19:33,439 Speaker 1: I'm concerned. You can use it however you need it, 275 00:19:34,080 --> 00:19:37,560 Speaker 1: telling a story, writing a song, or getting what you want. 276 00:19:38,880 --> 00:19:42,600 Speaker 1: And that day Marty got what he wanted. Well, he 277 00:19:42,720 --> 00:19:52,800 Speaker 1: got three songs. We'll be right back after this. We 278 00:19:53,240 --> 00:20:07,600 Speaker 1: were were there's paranoia everywhere, everyone suspects the worst. No 279 00:20:07,600 --> 00:20:10,040 Speaker 1: one makes a move, But then I feel it in 280 00:20:10,119 --> 00:20:15,080 Speaker 1: my throat, in my mouth. Then my hand instinctively comes up. 281 00:20:15,680 --> 00:20:19,480 Speaker 1: I coughed loudly. The game is up. I've given us 282 00:20:19,520 --> 00:20:27,000 Speaker 1: away that lucky stuff. That's all over now. I won't 283 00:20:27,040 --> 00:20:30,920 Speaker 1: answer to any other name you have for me. Look, 284 00:20:31,640 --> 00:20:34,359 Speaker 1: I loved my time in the Wilberries, but you can't 285 00:20:34,359 --> 00:20:37,639 Speaker 1: hang around in a situation like that forever. The moment 286 00:20:37,680 --> 00:20:42,919 Speaker 1: you get comfortable, you're dead. I mean that literally. You 287 00:20:42,960 --> 00:20:45,000 Speaker 1: always have to be a little bit too far in 288 00:20:45,040 --> 00:20:48,080 Speaker 1: the water, just enough so you're not always sure if 289 00:20:48,080 --> 00:20:52,560 Speaker 1: you're safe. Six weeks after we released The Traveling Wilberries 290 00:20:52,640 --> 00:20:56,160 Speaker 1: Volume one, our debut album, I knew it was over 291 00:20:56,520 --> 00:21:01,639 Speaker 1: the Traveling Wilburrie people. We were filming a couple of 292 00:21:01,720 --> 00:21:06,479 Speaker 1: videos in London, all of us Lefty, you know Roy Orbison. 293 00:21:07,920 --> 00:21:11,639 Speaker 1: Roy looked exhausted. Days after we wrapped the video shoot, 294 00:21:11,800 --> 00:21:17,159 Speaker 1: he was dead, a heart attack, just like that. No 295 00:21:17,359 --> 00:21:22,439 Speaker 1: warning signs, no second chances, nothing. We did make a 296 00:21:22,440 --> 00:21:25,080 Speaker 1: second record without Roy, but it was the end of 297 00:21:25,080 --> 00:21:30,240 Speaker 1: our little experiment. I knew that much. I always felt 298 00:21:30,240 --> 00:21:33,320 Speaker 1: close to George Harrison before and after we were in 299 00:21:33,359 --> 00:21:36,960 Speaker 1: the Wilberries. Whenever I spent time with him, I felt 300 00:21:36,960 --> 00:21:40,360 Speaker 1: at ease. Like I said before, sometimes when you're famous, 301 00:21:40,880 --> 00:21:45,639 Speaker 1: people treat you differently. They're phony other famous people too, 302 00:21:45,680 --> 00:21:50,960 Speaker 1: but George he was He was different. Hell. I loved 303 00:21:50,960 --> 00:21:54,520 Speaker 1: every Beatle in one way or another, simple, the usual way. 304 00:21:56,960 --> 00:21:58,560 Speaker 1: I like to think I played a little role in 305 00:21:58,600 --> 00:22:02,200 Speaker 1: getting them to transfigure them selves. They went from one 306 00:22:02,240 --> 00:22:05,800 Speaker 1: band to a completely different one. Some of that had 307 00:22:05,840 --> 00:22:10,479 Speaker 1: to do with pot. Yeah, man, I was there when 308 00:22:10,520 --> 00:22:13,800 Speaker 1: the Beatles got high for the first time. Well, I 309 00:22:13,840 --> 00:22:17,600 Speaker 1: mean when they first got properly high. Have been paying attention. 310 00:22:20,680 --> 00:22:24,720 Speaker 1: This was way back in they were touring the US. 311 00:22:25,600 --> 00:22:28,200 Speaker 1: They had a suite at the Delmonico Hotel in New York. 312 00:22:28,880 --> 00:22:31,600 Speaker 1: I was invited over, so I brought my roadie, Johnny 313 00:22:31,680 --> 00:22:36,000 Speaker 1: with me. Now, the boys couldn't leave this swite, okay, 314 00:22:36,400 --> 00:22:38,720 Speaker 1: they were the Beatles, for God's sake. They couldn't go 315 00:22:38,760 --> 00:22:44,679 Speaker 1: anywhere they'd be mobbed species. So I brought the party 316 00:22:44,720 --> 00:22:48,760 Speaker 1: to their suite. After our introductions, I sent out for wine, 317 00:22:48,760 --> 00:22:50,879 Speaker 1: and while we waited, I asked Johnny if he'd like 318 00:22:50,880 --> 00:22:54,040 Speaker 1: a quick smoke. So we popped into a little bedroom 319 00:22:54,040 --> 00:22:57,280 Speaker 1: in the suite, and he had a toke. Next thing, 320 00:22:57,320 --> 00:23:00,000 Speaker 1: I know, there's a loud knock at the door. Johnny 321 00:23:00,000 --> 00:23:04,360 Speaker 1: and I froze. Who is it? I said, laughing, we're 322 00:23:04,400 --> 00:23:06,919 Speaker 1: doing official business in here. You have to have a 323 00:23:06,960 --> 00:23:13,400 Speaker 1: certain set of skills. No one said anything. I threw 324 00:23:13,440 --> 00:23:15,879 Speaker 1: the door open and standing there and its frame was 325 00:23:16,400 --> 00:23:21,639 Speaker 1: in their entirety, the Fab four. They look stunned, like 326 00:23:21,800 --> 00:23:24,720 Speaker 1: kids in the big city for the first time. You 327 00:23:24,760 --> 00:23:26,840 Speaker 1: want to come in, I asked, It has to be 328 00:23:26,880 --> 00:23:32,560 Speaker 1: a certain set of circumstances. They strolled in like school kids. 329 00:23:33,760 --> 00:23:36,280 Speaker 1: I asked them if they wanted to join in the festivities. 330 00:23:37,480 --> 00:23:40,000 Speaker 1: Paul said they'd tried smoking the stuff before and it 331 00:23:40,080 --> 00:23:44,120 Speaker 1: didn't do anything for them. I didn't do anything. I shouted, 332 00:23:45,119 --> 00:23:49,199 Speaker 1: so like I get high in your song? That was 333 00:23:49,240 --> 00:23:53,639 Speaker 1: what a lie, see? I thought, that's what they sang 334 00:23:53,640 --> 00:23:56,359 Speaker 1: in their song, I want to hold your hand. Turns 335 00:23:56,400 --> 00:24:00,479 Speaker 1: out the lyric was actually I can't hide. They all 336 00:24:00,520 --> 00:24:03,639 Speaker 1: agreed to give it a second go. Transfiguration, of course. 337 00:24:05,960 --> 00:24:08,399 Speaker 1: I passed the joint to John. He held it in 338 00:24:08,440 --> 00:24:10,760 Speaker 1: his hand like it was a bomb or a precious jewel. 339 00:24:11,520 --> 00:24:14,280 Speaker 1: That made me laugh. He brought it up to his 340 00:24:14,320 --> 00:24:18,560 Speaker 1: lips as everyone in the room leaned in watching. Actually, 341 00:24:18,600 --> 00:24:22,879 Speaker 1: he said, Ringo, you go first. Why am me, cried Ringo, 342 00:24:24,119 --> 00:24:27,199 Speaker 1: you're the drummer. You can be our test subject. We 343 00:24:27,320 --> 00:24:31,960 Speaker 1: all laughed. But Ringo, he's made of stern stuff. He 344 00:24:32,040 --> 00:24:35,800 Speaker 1: picked it up and took a long drag. We all waited. 345 00:24:37,160 --> 00:24:41,159 Speaker 1: What's it like, Paul asked, It's like the ceiling is 346 00:24:41,200 --> 00:24:45,960 Speaker 1: creeping down, Ringo said, smiling. Then they were all in. 347 00:24:47,240 --> 00:24:49,960 Speaker 1: The little canary had survived, and so the Beatles went 348 00:24:50,000 --> 00:24:54,359 Speaker 1: in head first. Then the wine came, then more pot, 349 00:24:55,280 --> 00:24:58,960 Speaker 1: then more wine. We were all in that little bedroom, 350 00:24:59,359 --> 00:25:03,000 Speaker 1: thick smoke hanging in the air, laughing and exchanging stories. 351 00:25:03,920 --> 00:25:06,320 Speaker 1: I was so stoned I demanded we call up the queen. 352 00:25:07,800 --> 00:25:12,000 Speaker 1: Thankfully we didn't. Paul kept talking about different levels in 353 00:25:12,040 --> 00:25:14,720 Speaker 1: the world. I had no idea what he meant, but 354 00:25:15,040 --> 00:25:19,560 Speaker 1: he kept writing it down on the hotel's paper. Chaos 355 00:25:19,640 --> 00:25:22,960 Speaker 1: was descending on our little sweet but it was good chaos. 356 00:25:24,920 --> 00:25:27,080 Speaker 1: Then there was a loud knock at the door, but 357 00:25:27,200 --> 00:25:29,359 Speaker 1: this time it came from the sweets main door, not 358 00:25:29,480 --> 00:25:37,320 Speaker 1: the bedroom door. And again I had just taken a 359 00:25:37,359 --> 00:25:39,159 Speaker 1: big hit as the sound of the knocking on the 360 00:25:39,200 --> 00:25:45,440 Speaker 1: door reverberated through the suite. Cops, said Paul, quiet said George. 361 00:25:46,480 --> 00:25:48,960 Speaker 1: The smoke was in my lungs. I couldn't hold it 362 00:25:49,000 --> 00:25:52,840 Speaker 1: in anymore, so I coughed loudly. I had given the 363 00:25:52,880 --> 00:25:55,680 Speaker 1: game away. Whoever was at the door knew we were 364 00:25:55,680 --> 00:26:00,480 Speaker 1: in here. I went to the sweets front door. Before 365 00:26:00,520 --> 00:26:02,240 Speaker 1: I opened it, I ap peered through the peep hole. 366 00:26:02,640 --> 00:26:05,400 Speaker 1: The pot and the spy holes distortion made for an 367 00:26:05,400 --> 00:26:08,080 Speaker 1: image that was hard to view, but I could sort 368 00:26:08,119 --> 00:26:14,320 Speaker 1: of make out a man in a uniform. God, it 369 00:26:14,520 --> 00:26:18,480 Speaker 1: is the cops, I thought to myself. Mr Dillon came 370 00:26:18,560 --> 00:26:22,840 Speaker 1: this voice, cold and hard, business like. I won't answer 371 00:26:22,840 --> 00:26:27,640 Speaker 1: to any other name you have for me. I decided 372 00:26:27,640 --> 00:26:29,840 Speaker 1: that I had to open the door. My thinking was 373 00:26:29,880 --> 00:26:33,520 Speaker 1: that I could persuade one guy to go away. The 374 00:26:33,600 --> 00:26:35,480 Speaker 1: last thing I wanted for him was to come back 375 00:26:35,480 --> 00:26:40,000 Speaker 1: with his buddies. That would be the end. I prepared 376 00:26:40,000 --> 00:26:45,200 Speaker 1: a little charm offensive and opened the door. I'm sorry, officer, 377 00:26:45,320 --> 00:26:48,439 Speaker 1: I didn't. I am no longer he or whatever he was. 378 00:26:50,440 --> 00:26:53,359 Speaker 1: But I stopped because standing in front of me in 379 00:26:53,400 --> 00:26:56,040 Speaker 1: a black uniform was one of the Delmonico who tell 380 00:26:56,119 --> 00:27:00,200 Speaker 1: bell boys, Mr Dillon, He said, they told of me 381 00:27:00,280 --> 00:27:05,560 Speaker 1: you'd be here. You're wine, sir. Everyone behind me broke 382 00:27:05,560 --> 00:27:08,240 Speaker 1: out and laughter, and by the time I closed the door, 383 00:27:08,320 --> 00:27:11,080 Speaker 1: clutching a couple of bottles in my hand, tears were 384 00:27:11,160 --> 00:27:16,080 Speaker 1: rolling down my cheeks. George slapped my back as I 385 00:27:16,160 --> 00:27:20,200 Speaker 1: noticed tears on his too. He was a beatle then, 386 00:27:20,280 --> 00:27:23,080 Speaker 1: but I admit that I preferred him as a Wilberry. 387 00:27:24,480 --> 00:27:27,679 Speaker 1: I loved our time in that band. It only strengthened 388 00:27:27,680 --> 00:27:32,280 Speaker 1: our friendship. It's usually the opposite when you're working with someone. 389 00:27:33,520 --> 00:27:38,919 Speaker 1: He died too young, of course, way too young. I 390 00:27:38,960 --> 00:27:41,640 Speaker 1: was on stage halfway across the world when the memorial 391 00:27:41,720 --> 00:27:45,080 Speaker 1: concert for him was taking place. I was crushed that 392 00:27:45,119 --> 00:27:48,399 Speaker 1: I couldn't make it. I made sure I tipped my 393 00:27:48,440 --> 00:27:51,240 Speaker 1: hat to him, though, just like I did with the band. 394 00:27:52,960 --> 00:27:55,840 Speaker 1: So that night, while I was playing at Madison Square Garden, 395 00:27:56,280 --> 00:27:59,880 Speaker 1: I made sure he got to mention there's a more 396 00:28:00,000 --> 00:28:03,800 Speaker 1: real concerts for George Harrison going on, I said, standing 397 00:28:03,840 --> 00:28:07,679 Speaker 1: under those bright lights a year ago he left us. 398 00:28:08,600 --> 00:28:10,960 Speaker 1: I just wanted to play something for him because we 399 00:28:10,960 --> 00:28:16,639 Speaker 1: were such good buddies. We played George's song Something I 400 00:28:16,720 --> 00:28:20,280 Speaker 1: dedicated it to George, but in my mind I was 401 00:28:20,320 --> 00:28:58,560 Speaker 1: playing it for Nelson Wilbury. Mr Edwards A K adds 402 00:28:58,680 --> 00:29:01,200 Speaker 1: to his friends and his client ants. Was laid out 403 00:29:01,240 --> 00:29:04,440 Speaker 1: flat in the kitchen of number eighty one Elmfield Avenue, 404 00:29:04,640 --> 00:29:09,440 Speaker 1: crouch End, London. His torso was almost entirely under the 405 00:29:09,520 --> 00:29:13,480 Speaker 1: kitchen sink. His bottom half was sprawled across the expensive 406 00:29:13,520 --> 00:29:17,120 Speaker 1: granite tiles. Thanks for coming around so quickly, king the 407 00:29:17,200 --> 00:29:20,240 Speaker 1: voice of his customers sitting at the kitchen table, which 408 00:29:20,280 --> 00:29:23,560 Speaker 1: was just as expensive as the tiles. Not a problem, 409 00:29:23,640 --> 00:29:26,640 Speaker 1: it's responded, while tightening a nut. He jumped up from 410 00:29:26,640 --> 00:29:29,000 Speaker 1: the floor to run the water from the tap, watching 411 00:29:29,080 --> 00:29:33,320 Speaker 1: closely as it ran down the train. Satisfied with his work, 412 00:29:33,520 --> 00:29:36,000 Speaker 1: he shut the tap off and grabbed a rag draped 413 00:29:36,040 --> 00:29:39,040 Speaker 1: over his radio to wipe his forehead. A DJ on 414 00:29:39,080 --> 00:29:41,920 Speaker 1: the radio introduces guns and roses his cover of Bob 415 00:29:42,000 --> 00:29:45,959 Speaker 1: Dylan's knocking on Heaven's Store eds. With the smallest nudge, 416 00:29:46,080 --> 00:29:49,840 Speaker 1: turned the volume up ten tho ft above him. Bob 417 00:29:49,920 --> 00:29:55,320 Speaker 1: Dylan was falling at four miles per hour destination Heathrow Airport. 418 00:29:56,480 --> 00:29:59,880 Speaker 1: Upon arrival, Dylan received the same familiar question at the 419 00:30:00,000 --> 00:30:03,520 Speaker 1: airport's immigration desk? Is he really who he thought he was? 420 00:30:03,880 --> 00:30:08,520 Speaker 1: Was it really him? Really who? Dylan? Bob Dylan? The 421 00:30:08,520 --> 00:30:12,240 Speaker 1: woman at Immigration was visibly excited. Now I last touch 422 00:30:12,280 --> 00:30:17,000 Speaker 1: with that man years ago, Dylan replied. Across town, Dave Stewart, 423 00:30:17,280 --> 00:30:21,040 Speaker 1: one half of the hugely influential eighties pop duo He Rhythmics, 424 00:30:21,320 --> 00:30:24,320 Speaker 1: sat in his large and already in house and crouch end. 425 00:30:24,640 --> 00:30:27,040 Speaker 1: He took a cushion from a plush leather sofa and 426 00:30:27,120 --> 00:30:29,560 Speaker 1: plumped it up with his hand. He put it back. 427 00:30:30,080 --> 00:30:33,760 Speaker 1: Everything looked perfect. He was ready for his guest back 428 00:30:33,760 --> 00:30:36,400 Speaker 1: at Heathrow. Bob Dylan got the question again when he 429 00:30:36,440 --> 00:30:39,480 Speaker 1: stepped inside a cab idling outside the airport. Is it 430 00:30:39,600 --> 00:30:42,840 Speaker 1: really him? Dylan gave the cabby the same response he 431 00:30:42,880 --> 00:30:47,160 Speaker 1: gave Immigration inside. He throw really who? The cabby was 432 00:30:47,200 --> 00:30:50,040 Speaker 1: so gobsmacked to have Bob Dylan in his taxi that 433 00:30:50,160 --> 00:30:52,280 Speaker 1: he spent the first ten minutes of the ride driving 434 00:30:52,280 --> 00:30:56,680 Speaker 1: around aimlessly asking a million questions. Finally he got around 435 00:30:56,680 --> 00:31:00,000 Speaker 1: to asking Dylan where he wanted to go. Dylan pulled 436 00:31:00,120 --> 00:31:02,479 Speaker 1: a small scrap of paper out of the large pocket 437 00:31:02,480 --> 00:31:05,640 Speaker 1: of his hoodie. He could hardly read his own scrappy handwriting, 438 00:31:06,120 --> 00:31:11,120 Speaker 1: it read Crouch Hill, and the Cabby informed Dylan that 439 00:31:11,160 --> 00:31:14,080 Speaker 1: the numbers stopped at seventy eight Crouch Hill, but there 440 00:31:14,120 --> 00:31:18,120 Speaker 1: was one crouch Ant Hill only a few streets away. Sure, 441 00:31:18,520 --> 00:31:25,000 Speaker 1: Dylan assumed that was it back at Elmfield Avenue and 442 00:31:25,080 --> 00:31:28,320 Speaker 1: crouch and the water was everywhere. That happened all of 443 00:31:28,360 --> 00:31:31,560 Speaker 1: a sudden, an unexpected tsunami from pipe work. He thought 444 00:31:31,560 --> 00:31:34,840 Speaker 1: he just fixed it, soaked it's clothes, his hair, and 445 00:31:35,000 --> 00:31:38,200 Speaker 1: after emitting a weak crack, killed his radio. He knew 446 00:31:38,200 --> 00:31:41,240 Speaker 1: he'd be staying late for this job. And just a 447 00:31:41,280 --> 00:31:44,480 Speaker 1: few roads away, Dave Stewart flicked his kettle on and 448 00:31:44,560 --> 00:31:47,640 Speaker 1: neatly arranged two mugs in front of the teapot. He 449 00:31:47,760 --> 00:31:49,800 Speaker 1: poured a small amount of milk into a jug and 450 00:31:49,880 --> 00:31:53,760 Speaker 1: positioned a silver spoon into a small pot of sugar. Meanwhile, 451 00:31:53,840 --> 00:31:58,040 Speaker 1: Bob Dylan, now exhausted from the Cabby's NonStop and derogation, 452 00:31:58,520 --> 00:32:01,360 Speaker 1: was desperate to get out of this AXI. Just here 453 00:32:01,360 --> 00:32:04,600 Speaker 1: on the left, he told the driver. Dylan wasted no time, 454 00:32:04,680 --> 00:32:06,480 Speaker 1: jumping out of the back seat and marching up the 455 00:32:06,480 --> 00:32:11,400 Speaker 1: steps to number one. Dave Stewart's doorbell rang out. Just 456 00:32:11,560 --> 00:32:14,440 Speaker 1: as the kettle steamed up his kitchen, he cleared his 457 00:32:14,480 --> 00:32:17,320 Speaker 1: throat and strolled to his front door. He opened it 458 00:32:17,360 --> 00:32:21,080 Speaker 1: to reveal not who he was expecting, but a postman 459 00:32:21,320 --> 00:32:24,360 Speaker 1: with a large parcel from his record company r C. A. 460 00:32:25,440 --> 00:32:28,520 Speaker 1: Stewart lingered at the door. After receiving the package. He 461 00:32:28,600 --> 00:32:31,640 Speaker 1: looked up and down the street, but he was unusually quiet. 462 00:32:32,800 --> 00:32:35,320 Speaker 1: Bob Dylan ran his hand through his wild hair and 463 00:32:35,400 --> 00:32:38,760 Speaker 1: pushed the bell of number one forty one. Almost instantly, 464 00:32:38,800 --> 00:32:41,560 Speaker 1: he was greeted by a woman. Does Dave live here? 465 00:32:41,840 --> 00:32:45,480 Speaker 1: Dylan asta, Why, yes, she responded, but he's not here 466 00:32:45,480 --> 00:32:47,840 Speaker 1: at the moment. He's due back soon if you wanted 467 00:32:47,840 --> 00:32:51,840 Speaker 1: to wait. Dylan walked inside, and just before she closed 468 00:32:51,880 --> 00:32:57,400 Speaker 1: the door, the woman asked, is it really you? At 469 00:32:57,440 --> 00:32:59,920 Speaker 1: eighty one m Field Avenue, Ed's finally got the sink 470 00:33:00,040 --> 00:33:03,560 Speaker 1: under control and stood holding his recently deceased radio. His 471 00:33:03,680 --> 00:33:06,400 Speaker 1: client asked who he can make the checkout too? My 472 00:33:06,560 --> 00:33:09,440 Speaker 1: friends call me eds game. The response he should make 473 00:33:09,480 --> 00:33:14,680 Speaker 1: it out to Dave Edwards. Inside Crouch gent Hill, Bob 474 00:33:14,760 --> 00:33:17,120 Speaker 1: Dylan sat in the front room, listening to the ticking 475 00:33:17,120 --> 00:33:19,600 Speaker 1: of the clock as the woman who had welcomed him inside, 476 00:33:19,680 --> 00:33:22,120 Speaker 1: brought him a mug of tea. She told him that 477 00:33:22,200 --> 00:33:25,640 Speaker 1: Dave wouldn't be too long now. Dylan smiled and didn't 478 00:33:25,640 --> 00:33:28,920 Speaker 1: say anything. His eyes scanned the large stack of records 479 00:33:28,920 --> 00:33:31,560 Speaker 1: on the shelf in the room, not a single release 480 00:33:31,600 --> 00:33:35,080 Speaker 1: by The Rhythmics, in fact, nothing from the British pop 481 00:33:35,120 --> 00:33:37,920 Speaker 1: scene at all. He looked closer and saw his own 482 00:33:38,000 --> 00:33:40,600 Speaker 1: name on the spine of one LP, a copy of 483 00:33:40,600 --> 00:33:43,720 Speaker 1: his nineteen sixty three album The Freewheel and Bob Dylan. 484 00:33:44,760 --> 00:33:47,120 Speaker 1: The door of the front room suddenly swung open, and 485 00:33:47,160 --> 00:33:50,080 Speaker 1: then walked Dave Edwards, a k a. Eds home for 486 00:33:50,120 --> 00:33:52,840 Speaker 1: the night after a long day of repairing wee he sinks. 487 00:33:53,600 --> 00:33:56,160 Speaker 1: He could hardly believe his eyes. He looked at the 488 00:33:56,200 --> 00:33:58,760 Speaker 1: man standing in his front room clutching his copy of 489 00:33:58,760 --> 00:34:01,120 Speaker 1: The Freewheel and Bob Dylan, and then looked at the 490 00:34:01,120 --> 00:34:03,440 Speaker 1: man on the cover of the album and then gassed 491 00:34:03,760 --> 00:34:07,680 Speaker 1: it's you. Bob. Dylan meanwhile realized that he had copied 492 00:34:07,720 --> 00:34:09,960 Speaker 1: down the wrong address and that he was now being 493 00:34:10,000 --> 00:34:13,879 Speaker 1: greeted by the wrong Dave. A few roads away, Dave 494 00:34:13,960 --> 00:34:16,480 Speaker 1: Stewart picked up an unused mug that had sat on 495 00:34:16,520 --> 00:34:19,160 Speaker 1: his counter for hours. He looked at it for a 496 00:34:19,239 --> 00:34:21,600 Speaker 1: moment and then put it back into the cupboard. I 497 00:34:21,600 --> 00:34:24,879 Speaker 1: guess Bob's busy, he said to himself. He walked back 498 00:34:24,920 --> 00:34:27,200 Speaker 1: into his living room and turned on his record player. 499 00:34:27,719 --> 00:34:30,840 Speaker 1: He scanned the album stacked on the shelf. With Dylan 500 00:34:30,880 --> 00:34:33,319 Speaker 1: on his brain, he figured that tonight was as good 501 00:34:33,320 --> 00:34:51,480 Speaker 1: as any night to spend. Blood on the Tracks. Blood 502 00:34:51,480 --> 00:34:54,440 Speaker 1: on the Tracks produced by Double Elvis in partnership with 503 00:34:54,520 --> 00:34:57,960 Speaker 1: I Heart Radio. It's hosted an executive produced by me 504 00:34:58,239 --> 00:35:01,520 Speaker 1: Jake Brennan, also Exact Get It produced by Brady sath 505 00:35:02,000 --> 00:35:05,239 Speaker 1: Zeth Lundi is lead editor and producer. This episode was 506 00:35:05,280 --> 00:35:08,840 Speaker 1: written by Ben Burrow, Story and copy editing by Pat Healy. 507 00:35:09,360 --> 00:35:12,960 Speaker 1: Mixing and sound designed by Colin Fleming. Additional music and 508 00:35:13,040 --> 00:35:17,400 Speaker 1: score elements by Ryan Spreaker. This episode feature Chris Anzeloni 509 00:35:17,520 --> 00:35:20,680 Speaker 1: is Bob Dylan. Sources for this episode are available at 510 00:35:20,719 --> 00:35:23,000 Speaker 1: double Elvis dot com and the Blood in the Tracks 511 00:35:23,040 --> 00:35:27,120 Speaker 1: series page. Follow Double Elvis on Instagram at double Elvis 512 00:35:27,120 --> 00:35:29,840 Speaker 1: and on Twitch at s Grace Santa Talks, and you 513 00:35:29,920 --> 00:35:32,560 Speaker 1: can talk to me per usual on Instagram and Twitter 514 00:35:32,719 --> 00:35:51,040 Speaker 1: at Disgrace land Pond rock and roll or dead