Speaker 1: Blood on the Tracks is the production of I Heart
Speaker 1: Radio and Double Elvis. Bob Dylan was a musical genius
Speaker 1: and one of the greatest songwriters of all time. He
Speaker 1: didn't follow leaders. He chased that thin, wild mercury sound.
Speaker 1: He never looked back. Even as the times changed, and
Speaker 1: as the times changed, Bob Dylan changed. He tried on
Speaker 1: and discarded identities like they were mass. He transformed. He
Speaker 1: transfigured in somewhere along the way, the Bob Dylan that
Speaker 1: you thought you knew died. This is his story. This
Speaker 1: is Dr Ed Sailor. It is August five, nine, day
Speaker 1: number eight. Here in my home in Middletown, New York,
Speaker 1: I am once again reviewing the patient Robert Zimmerman, a
Speaker 1: k a. Bob Dylan, although I don't think he'd answered
Speaker 1: to that name at the moment. After yesterday's concerns that
Speaker 1: Bob was experiencing some sort of delusional disorder, I'm disappointed
Speaker 1: to confirm we seem to be heading further down that road.
Speaker 1: He seems extremely agitated. I think we might have to
Speaker 1: take him off as met soon to see if he
Speaker 1: can manage the pain, because right now he's struggling with
Speaker 1: some sort of identity crisis. Lucky is my name. I
Speaker 1: won't answer to any other name you have for me,
Speaker 1: any other name you or I might have given myself.
Speaker 1: I am no longer he or whatever he was. I
Speaker 1: am Lucky, part of the Wilbury people, the traveling Wilbury people.
Speaker 1: We are another species, another type of person to you
Speaker 1: or your kind. I'm not saying we're better, just different,
Speaker 1: that's all. We all have our good and bad traits.
Speaker 1: It's just ours are different. H How did I become
Speaker 1: a Wilberry? Simple? The usual way transfiguration? Of course, haven't
Speaker 1: you been paying attention? Not everyone can become a Wilbery,
Speaker 1: though you have to have a certain set of skills.
Speaker 1: There has to be a certain set of circumstances, and
Speaker 1: of course there has to be a lot of blood
Speaker 1: on the tracks. Chapter eight, Bob Dylan is a Lucky Wilberry.
Speaker 1: I can't remember what I was gonna say. I'll take
Speaker 1: another hit man. Can anyone remember the room number? I
Speaker 1: need some I need some food. Can we call room service?
Speaker 1: Can we get some drinks in here? Can we get
Speaker 1: the queen in here? She's just around the corner right,
Speaker 1: Let's call up her, Majesty but wait, not yet, I'll
Speaker 1: take another hit. Here's a brief history of the Wilbery people,
Speaker 1: My people people. This is taken from research conducted at
Speaker 1: the esteemed University of Krakatoa and also from my own
Speaker 1: personal recollection. So listen up. The original Wilberries were stationary
Speaker 1: people who, realizing that their civilization could not stand still forever,
Speaker 1: began to move. Motion became our way of life, and
Speaker 1: on those journeys we became inspired, inspired to create music.
Speaker 1: Somehow we created music despite a lack of an over
Speaker 1: indulgent marketing budget, sycophantic session musicians, and opulent recording studios.
Speaker 1: While the Wilberry people would become exceptional at music, there
Speaker 1: was a war coming during the Great War with the
Speaker 1: record executive people, which lasted a hundred years or more.
Speaker 1: Most of the Wilberries were killed. They are always in
Speaker 1: our hearts. Thankfully, some of the Wilberies survived, and some
Speaker 1: years later a few of them got together to continue
Speaker 1: the great Wilberry tradition of creating great music. Their names
Speaker 1: Nelson Otis, Lefty, Charlie T. Jr. And me Lucky Wilberry.
Speaker 1: Lucky is my name. Our time together started as organically
Speaker 1: as you can get. Nelson, who at the time was
Speaker 1: playing the role of George Harrison, called me up to
Speaker 1: say he needed a studio to cut an extra song
Speaker 1: to promote his new album, Cloud Nine. He wanted a
Speaker 1: B side for a single he was putting out, so
Speaker 1: I offered him the studio at my home. He showed
Speaker 1: up with company, though Otis, who some of you might
Speaker 1: know as Jeff Lynn, was with him. Otis was producing
Speaker 1: Cloud nine, but Nelson had left his guitar at Charlie's house.
Speaker 1: Now Charlie goes by the name of Tom Petty. I
Speaker 1: told you a little about him already, So anyway, after
Speaker 1: handing over the guitar, Charlie tagged along too. We are
Speaker 1: another species. Later we were also joined by Lefty, who
Speaker 1: for years had been performing under the name Roy Orbison.
Speaker 1: Otis was producing the next Lefty record. Otis was so
Speaker 1: in demand he should have been called Busy Wilberry. As
Speaker 1: for me, I struggled with inspiration at that point of
Speaker 1: my life. So when it was suggested they go into
Speaker 1: the studio and helped Nelson with this B side, I
Speaker 1: left them to it for a while. I preferred to barbecue.
Speaker 1: I wanted to play host for my fellow Wilberry guests.
Speaker 1: Playing host that's a very big part of our culture people.
Speaker 1: But I couldn't help myself. They were all sitting around
Speaker 1: working on this thing that Nelson was writing, trading guitar
Speaker 1: riffs back and forth, talking about lyrics, and me, I
Speaker 1: was grilling up some beef skills. I got more and
Speaker 1: more agitated as they were throwing ideas around. I began
Speaker 1: to press the meat into the grill harder and harder.
Speaker 1: It's sizzled loudly, so we go from that part into
Speaker 1: the chorus. I heard oh To say, that's gonna sound great.
Speaker 1: The sizzling in front of me was getting louder and
Speaker 1: louder now, and I was getting more and more annoyed.
Speaker 1: That lick, that's it, I heard Nelson say over the
Speaker 1: burning beef. The sizzling was reaching an ear splitting volume
Speaker 1: for me. Now, the louder and louder it grew, the
Speaker 1: more annoyed I got. I didn't know why I couldn't
Speaker 1: articulate it. Haven't you been paying attention? And then it
Speaker 1: hit me. I remembered another life, different existence, an album
Speaker 1: called Down in the Groove. I could feel another form
Speaker 1: of myself, a form which was disinterested in music, that
Speaker 1: had fallen out of love with it altogether. I won't
Speaker 1: answer to any other name. I realized why I was
Speaker 1: so annoyed by not taking part of what was happening
Speaker 1: merely feet away from me. I was becoming that different
Speaker 1: version of myself, the poorer version of myself. I am
Speaker 1: no longer he or whatever he was. I slammed the
Speaker 1: barbecue lid shut stormed into the garage where the other
Speaker 1: Wilberries were playing. What's this one called? I asked. Nelson
Speaker 1: looked up at me and said, I don't know. His
Speaker 1: eyes drifted up behind me to a cardboard box on
Speaker 1: the shelf that had a label on it. He read
Speaker 1: it aloud, handle with care. He said we should call
Speaker 1: it that Buddhist at him, And that's how we got
Speaker 1: our first song. It was a hit, a big hit.
Speaker 1: We knew we'd struck upon something that day. The brilliance
Speaker 1: of it was that it wasn't planned a species. See,
Speaker 1: you can plan all this stuff and get it all
Speaker 1: worked out, but music doesn't work like that. Magic comes
Speaker 1: when you're spontaneous. If we'd have planned it, it would
Speaker 1: have never happened. Nelson took the song to his record
Speaker 1: company and they told him it was too good to
Speaker 1: be a B sideed In fact, it was so good
Speaker 1: they wanted more, and so did we. We went to
Speaker 1: Dave Stewart's house, you know him, He's one half of
Speaker 1: the Rhythmics. We recorded an album there, in a couple
Speaker 1: other places. Man I loved it. We cut tunes all
Speaker 1: over the place. One we cut in the kitchen with
Speaker 1: our drummer, Sideberry, not one of the Wilbury people, but
Speaker 1: an honorary citizen who played drums on the fridge to
Speaker 1: travel in Wilbury people. After recording, we'd listened to lefties
Speaker 1: stories of how he used to play with Elvis. Man
Speaker 1: I was a huge Elvis fan. That was a thrill
Speaker 1: for me. We'd toss around ideas and trade little parts.
Speaker 1: I felt so at home, like I found my true existence,
Speaker 1: that other existence that I felt stood at the barbecue
Speaker 1: that was so far removed from what I was. It
Speaker 1: felt like a different person in a different time. Any
Speaker 1: other name you I might have given myself. Yeah, I
Speaker 1: felt sorry for him. Lucky is my name as Lucky.
Speaker 1: I felt I'd found myself, But I couldn't shake this presence.
Speaker 1: I thought about the other lives I've lived, other lives
Speaker 1: where I had been with bands. They were different. There
Speaker 1: was a checkered history there, especially on Thanksgiving, and I'd
Speaker 1: take another drag. The smoke fills my lungs. My brain
Speaker 1: is swimming. It feels like it's slowly lifting off. I
Speaker 1: turned to George next to me, and he's sitting on
Speaker 1: the expensive king size bed while a gold wall twinkles
Speaker 1: behind him. There's a knock at the door and we
Speaker 1: all freeze as fear engulfs the room. All that Wilbury
Speaker 1: talks got me thinking about the time I spent with
Speaker 1: the band again. Had some good times with the band,
Speaker 1: some less than good times too. I mean, we always
Speaker 1: stuck together in the bad times. They were there with
Speaker 1: me on some rough tours and some good ones too.
Speaker 1: But after their time with me, they became a real
Speaker 1: big deal. They forged their own way, they invented themselves.
Speaker 1: I respect that transfiguration. Of course, somewhere down the line
Speaker 1: they decided to call it a day. I was always
Speaker 1: ellis of that. To escape from a band when you're
Speaker 1: ready to escape, when you're on your own, like me,
Speaker 1: you have to play your hand. You can't get rid
Speaker 1: of it. You can't quit yourself even if you try.
Speaker 1: Believe me, I won't answer to any other name. The
Speaker 1: band wanted to get off the road because Richard Manuel
Speaker 1: injured himself in a boating accident. The road can be
Speaker 1: hard when you've been on it awhile. You either get
Speaker 1: addicted to it or it swallows you up. For the band,
Speaker 1: I guess they were getting out before they became slaves
Speaker 1: to it. We are another species. There was to be
Speaker 1: a final goodbye, though, one last hurrah, one last gig,
Speaker 1: one last waltz. That's what they ended up calling it,
Speaker 1: the Last Waltz. This was back in They decided that
Speaker 1: this farewell gig should be at winter Land Ballroom, the
Speaker 1: venue in which they've made their debut as the band.
Speaker 1: Back in. A load of us were asked to perform
Speaker 1: with them, Muddy Waters, Neil Young, dr John Joni Mitchell,
Speaker 1: an unbelievable mix of artists. But I wasn't feeling it.
Speaker 1: I don't know. I had to think it over. We
Speaker 1: all have our good and bad trads. Look, this was
Speaker 1: back when I was going through a divorce and working
Speaker 1: on my film. Ronaldo and Clara. That film was taking
Speaker 1: my creative focus. I was obsessed with it. The last
Speaker 1: thing I really wanted to do was play happy show
Speaker 1: biz families at a glitzy event. Plus Martin Scorsese was
Speaker 1: going to film the whole gig. Marty had released Taxi
Speaker 1: Driver that year. He was on top of his game,
Speaker 1: but I was working on a film too. I wanted
Speaker 1: to pay my respects to the band, but I wasn't
Speaker 1: interested in being in two movies at the same time. Eventually,
Speaker 1: they convinced me to be a part of It has
Speaker 1: to be a certain set of circumstances. The deal was
Speaker 1: they'd only used three of my songs for the film.
Speaker 1: No more Fine. I got on a plane bound for
Speaker 1: San Francisco, but I traveled with my lawyer or in.
Speaker 1: Sometime later, I would curse that decision. When we got there,
Speaker 1: it was unlike anything I've seen before. Five thousand Turkey
Speaker 1: dinners backstage, ready for the crowd. It was Thanksgiving after all,
Speaker 1: and the only thing that outnumbered the Turkey Dinners was
Speaker 1: the coke man. It was everywhere. It was like a blizzard. Man,
Speaker 1: I swear it was in the air that day. Just
Speaker 1: breathing got you fucked up. We are another species. Marty
Speaker 1: was constantly on the stuff line after line. Neil young too.
Speaker 1: I heard they had to edit a smudge of coke
Speaker 1: from his nose in post production, but for some reason
Speaker 1: they didn't blur out the ridiculous Kama Sutra T shirt
Speaker 1: he had on. The gig itself was great. The atmosphere
Speaker 1: was incredible. Now. I'm not usually into nostalgia. I made
Speaker 1: a film called Don't Look Back for Crying Out Loud,
Speaker 1: but nostalgia can grab ahold of you and refuse to
Speaker 1: let go that night. However, with the band, it felt
Speaker 1: like the right way to say goodbye. That is until
Speaker 1: I changed my mind. I had this sudden realization. You
Speaker 1: know what, I didn't want to be in the film.
Speaker 1: I am no longer he or whatever he was like.
Speaker 1: I said, I didn't want to be in two movies
Speaker 1: at once. It didn't feel right artistically. I didn't even
Speaker 1: want the three songs we had agreed to be used
Speaker 1: in the final film. But I can't change my mind.
Speaker 1: We all have our good and bad traits. After the show,
Speaker 1: I found Marty, I can't be in your picture. I
Speaker 1: told him, are you fucking kidding me? He responded, Marty
Speaker 1: cusses like the characters in his movies. Man, he's the
Speaker 1: real deal. And then he said, you are joking, right.
Speaker 1: I searched for an answer for him. I said, you know,
Speaker 1: I've got this other film coming out and uh. I
Speaker 1: looked over at Robbie Robertson. He was turning pale, a
Speaker 1: crisp white, in fact, as white as the coke on
Speaker 1: the table in front of Marty. I didn't even get
Speaker 1: to finish my sentence. Marty barked back at me, your
Speaker 1: songs are going in the fucking film. He was angry, now,
Speaker 1: drawing closer to me. I could feel his breath on
Speaker 1: my face. I was furious too, Man, I'd come here
Speaker 1: to pay my respects and play the gig. I don't
Speaker 1: give a funk about the film. It wasn't my film.
Speaker 1: You have to have a certain set of skills. I
Speaker 1: stormed off with my lawyer, Or, and we went to
Speaker 1: my dressing room. I started on the whiskey and smokes.
Speaker 1: What can we do, I asked Oran. His reply was
Speaker 1: essentially nothing. We could do nothing. The film was technically theirs,
Speaker 1: it had been shot and that was that. Unless Or
Speaker 1: joked we take the tapes. We looked at each other.
Speaker 1: Next thing, I knew we were running out the door.
Speaker 1: After another shot of whiskey. That is, I smashed open
Speaker 1: the door of the production truck. Did you film me?
Speaker 1: I yelled at the director of photography or whoever was
Speaker 1: sitting in there. He didn't have a clue what was
Speaker 1: going on? Haven't you been paying attention? Boring rifled through
Speaker 1: spools of film, picking up a couple of heavy looking cases.
Speaker 1: They're here, he announced, and then told the director we'd
Speaker 1: be taking them there. Mr Scorseses, this guy said, his
Speaker 1: voice all wavy and thin. I was about to say,
Speaker 1: I didn't give a funk who they belonged to, and
Speaker 1: I'll be damned if the man himself hadn't just appeared
Speaker 1: in the doorway. Marty looked even more angry than before.
Speaker 1: He'd been stewing over our previous words, and, by the
Speaker 1: looks of it, had been nursing his indignation with more cocaine.
Speaker 1: He told us to hand over the tapes. Oran clutched
Speaker 1: them closer to his chest. I told him to back off,
Speaker 1: otherwise I dashed him against the wall. Marty went for Oran,
Speaker 1: Orange jumped out of his way. Which caused the director
Speaker 1: to crash into a couple of monitors. Oran and I
Speaker 1: ran out of the truck, the tapes in his hands.
Speaker 1: Marty sprinting after us that powder had turned him into
Speaker 1: an Olympic athlete man transfiguration. Of course, he tackled or in.
Speaker 1: The tapes fell on the ballroom's parking lot. We all
Speaker 1: caught our breath. Marty turned to me, the tapes back
Speaker 1: in his hands. Now you really think the is all
Speaker 1: about you, don't you? He said. I am lucky. He
Speaker 1: kind of had a point, but what he said next
Speaker 1: surprised me. Well, you're right, he said, and he sighed heavily.
Speaker 1: The truth is we need you. Bob Warner Brothers won't
Speaker 1: give us the money if you're not in it. And
Speaker 1: that's the truth. Now, I've had a difficult relationship with
Speaker 1: the truth. I didn't know whether to believe him or not.
Speaker 1: But you know, truth is all relative as far as
Speaker 1: I'm concerned. You can use it however you need it,
Speaker 1: telling a story, writing a song, or getting what you want.
Speaker 1: And that day Marty got what he wanted. Well, he
Speaker 1: got three songs. We'll be right back after this. We
Speaker 1: were were there's paranoia everywhere, everyone suspects the worst. No
Speaker 1: one makes a move, But then I feel it in
Speaker 1: my throat, in my mouth. Then my hand instinctively comes up.
Speaker 1: I coughed loudly. The game is up. I've given us
Speaker 1: away that lucky stuff. That's all over now. I won't
Speaker 1: answer to any other name you have for me. Look,
Speaker 1: I loved my time in the Wilberries, but you can't
Speaker 1: hang around in a situation like that forever. The moment
Speaker 1: you get comfortable, you're dead. I mean that literally. You
Speaker 1: always have to be a little bit too far in
Speaker 1: the water, just enough so you're not always sure if
Speaker 1: you're safe. Six weeks after we released The Traveling Wilberries
Speaker 1: Volume one, our debut album, I knew it was over
Speaker 1: the Traveling Wilburrie people. We were filming a couple of
Speaker 1: videos in London, all of us Lefty, you know Roy Orbison.
Speaker 1: Roy looked exhausted. Days after we wrapped the video shoot,
Speaker 1: he was dead, a heart attack, just like that. No
Speaker 1: warning signs, no second chances, nothing. We did make a
Speaker 1: second record without Roy, but it was the end of
Speaker 1: our little experiment. I knew that much. I always felt
Speaker 1: close to George Harrison before and after we were in
Speaker 1: the Wilberries. Whenever I spent time with him, I felt
Speaker 1: at ease. Like I said before, sometimes when you're famous,
Speaker 1: people treat you differently. They're phony other famous people too,
Speaker 1: but George he was He was different. Hell. I loved
Speaker 1: every Beatle in one way or another, simple, the usual way.
Speaker 1: I like to think I played a little role in
Speaker 1: getting them to transfigure them selves. They went from one
Speaker 1: band to a completely different one. Some of that had
Speaker 1: to do with pot. Yeah, man, I was there when
Speaker 1: the Beatles got high for the first time. Well, I
Speaker 1: mean when they first got properly high. Have been paying attention.
Speaker 1: This was way back in they were touring the US.
Speaker 1: They had a suite at the Delmonico Hotel in New York.
Speaker 1: I was invited over, so I brought my roadie, Johnny
Speaker 1: with me. Now, the boys couldn't leave this swite, okay,
Speaker 1: they were the Beatles, for God's sake. They couldn't go
Speaker 1: anywhere they'd be mobbed species. So I brought the party
Speaker 1: to their suite. After our introductions, I sent out for wine,
Speaker 1: and while we waited, I asked Johnny if he'd like
Speaker 1: a quick smoke. So we popped into a little bedroom
Speaker 1: in the suite, and he had a toke. Next thing,
Speaker 1: I know, there's a loud knock at the door. Johnny
Speaker 1: and I froze. Who is it? I said, laughing, we're
Speaker 1: doing official business in here. You have to have a
Speaker 1: certain set of skills. No one said anything. I threw
Speaker 1: the door open and standing there and its frame was
Speaker 1: in their entirety, the Fab four. They look stunned, like
Speaker 1: kids in the big city for the first time. You
Speaker 1: want to come in, I asked, It has to be
Speaker 1: a certain set of circumstances. They strolled in like school kids.
Speaker 1: I asked them if they wanted to join in the festivities.
Speaker 1: Paul said they'd tried smoking the stuff before and it
Speaker 1: didn't do anything for them. I didn't do anything. I shouted,
Speaker 1: so like I get high in your song? That was
Speaker 1: what a lie, see? I thought, that's what they sang
Speaker 1: in their song, I want to hold your hand. Turns
Speaker 1: out the lyric was actually I can't hide. They all
Speaker 1: agreed to give it a second go. Transfiguration, of course.
Speaker 1: I passed the joint to John. He held it in
Speaker 1: his hand like it was a bomb or a precious jewel.
Speaker 1: That made me laugh. He brought it up to his
Speaker 1: lips as everyone in the room leaned in watching. Actually,
Speaker 1: he said, Ringo, you go first. Why am me, cried Ringo,
Speaker 1: you're the drummer. You can be our test subject. We
Speaker 1: all laughed. But Ringo, he's made of stern stuff. He
Speaker 1: picked it up and took a long drag. We all waited.
Speaker 1: What's it like, Paul asked, It's like the ceiling is
Speaker 1: creeping down, Ringo said, smiling. Then they were all in.
Speaker 1: The little canary had survived, and so the Beatles went
Speaker 1: in head first. Then the wine came, then more pot,
Speaker 1: then more wine. We were all in that little bedroom,
Speaker 1: thick smoke hanging in the air, laughing and exchanging stories.
Speaker 1: I was so stoned I demanded we call up the queen.
Speaker 1: Thankfully we didn't. Paul kept talking about different levels in
Speaker 1: the world. I had no idea what he meant, but
Speaker 1: he kept writing it down on the hotel's paper. Chaos
Speaker 1: was descending on our little sweet but it was good chaos.
Speaker 1: Then there was a loud knock at the door, but
Speaker 1: this time it came from the sweets main door, not
Speaker 1: the bedroom door. And again I had just taken a
Speaker 1: big hit as the sound of the knocking on the
Speaker 1: door reverberated through the suite. Cops, said Paul, quiet said George.
Speaker 1: The smoke was in my lungs. I couldn't hold it
Speaker 1: in anymore, so I coughed loudly. I had given the
Speaker 1: game away. Whoever was at the door knew we were
Speaker 1: in here. I went to the sweets front door. Before
Speaker 1: I opened it, I ap peered through the peep hole.
Speaker 1: The pot and the spy holes distortion made for an
Speaker 1: image that was hard to view, but I could sort
Speaker 1: of make out a man in a uniform. God, it
Speaker 1: is the cops, I thought to myself. Mr Dillon came
Speaker 1: this voice, cold and hard, business like. I won't answer
Speaker 1: to any other name you have for me. I decided
Speaker 1: that I had to open the door. My thinking was
Speaker 1: that I could persuade one guy to go away. The
Speaker 1: last thing I wanted for him was to come back
Speaker 1: with his buddies. That would be the end. I prepared
Speaker 1: a little charm offensive and opened the door. I'm sorry, officer,
Speaker 1: I didn't. I am no longer he or whatever he was.
Speaker 1: But I stopped because standing in front of me in
Speaker 1: a black uniform was one of the Delmonico who tell
Speaker 1: bell boys, Mr Dillon, He said, they told of me
Speaker 1: you'd be here. You're wine, sir. Everyone behind me broke
Speaker 1: out and laughter, and by the time I closed the door,
Speaker 1: clutching a couple of bottles in my hand, tears were
Speaker 1: rolling down my cheeks. George slapped my back as I
Speaker 1: noticed tears on his too. He was a beatle then,
Speaker 1: but I admit that I preferred him as a Wilberry.
Speaker 1: I loved our time in that band. It only strengthened
Speaker 1: our friendship. It's usually the opposite when you're working with someone.
Speaker 1: He died too young, of course, way too young. I
Speaker 1: was on stage halfway across the world when the memorial
Speaker 1: concert for him was taking place. I was crushed that
Speaker 1: I couldn't make it. I made sure I tipped my
Speaker 1: hat to him, though, just like I did with the band.
Speaker 1: So that night, while I was playing at Madison Square Garden,
Speaker 1: I made sure he got to mention there's a more
Speaker 1: real concerts for George Harrison going on, I said, standing
Speaker 1: under those bright lights a year ago he left us.
Speaker 1: I just wanted to play something for him because we
Speaker 1: were such good buddies. We played George's song Something I
Speaker 1: dedicated it to George, but in my mind I was
Speaker 1: playing it for Nelson Wilbury. Mr Edwards A K adds
Speaker 1: to his friends and his client ants. Was laid out
Speaker 1: flat in the kitchen of number eighty one Elmfield Avenue,
Speaker 1: crouch End, London. His torso was almost entirely under the
Speaker 1: kitchen sink. His bottom half was sprawled across the expensive
Speaker 1: granite tiles. Thanks for coming around so quickly, king the
Speaker 1: voice of his customers sitting at the kitchen table, which
Speaker 1: was just as expensive as the tiles. Not a problem,
Speaker 1: it's responded, while tightening a nut. He jumped up from
Speaker 1: the floor to run the water from the tap, watching
Speaker 1: closely as it ran down the train. Satisfied with his work,
Speaker 1: he shut the tap off and grabbed a rag draped
Speaker 1: over his radio to wipe his forehead. A DJ on
Speaker 1: the radio introduces guns and roses his cover of Bob
Speaker 1: Dylan's knocking on Heaven's Store eds. With the smallest nudge,
Speaker 1: turned the volume up ten tho ft above him. Bob
Speaker 1: Dylan was falling at four miles per hour destination Heathrow Airport.
Speaker 1: Upon arrival, Dylan received the same familiar question at the
Speaker 1: airport's immigration desk? Is he really who he thought he was?
Speaker 1: Was it really him? Really who? Dylan? Bob Dylan? The
Speaker 1: woman at Immigration was visibly excited. Now I last touch
Speaker 1: with that man years ago, Dylan replied. Across town, Dave Stewart,
Speaker 1: one half of the hugely influential eighties pop duo He Rhythmics,
Speaker 1: sat in his large and already in house and crouch end.
Speaker 1: He took a cushion from a plush leather sofa and
Speaker 1: plumped it up with his hand. He put it back.
Speaker 1: Everything looked perfect. He was ready for his guest back
Speaker 1: at Heathrow. Bob Dylan got the question again when he
Speaker 1: stepped inside a cab idling outside the airport. Is it
Speaker 1: really him? Dylan gave the cabby the same response he
Speaker 1: gave Immigration inside. He throw really who? The cabby was
Speaker 1: so gobsmacked to have Bob Dylan in his taxi that
Speaker 1: he spent the first ten minutes of the ride driving
Speaker 1: around aimlessly asking a million questions. Finally he got around
Speaker 1: to asking Dylan where he wanted to go. Dylan pulled
Speaker 1: a small scrap of paper out of the large pocket
Speaker 1: of his hoodie. He could hardly read his own scrappy handwriting,
Speaker 1: it read Crouch Hill, and the Cabby informed Dylan that
Speaker 1: the numbers stopped at seventy eight Crouch Hill, but there
Speaker 1: was one crouch Ant Hill only a few streets away. Sure,
Speaker 1: Dylan assumed that was it back at Elmfield Avenue and
Speaker 1: crouch and the water was everywhere. That happened all of
Speaker 1: a sudden, an unexpected tsunami from pipe work. He thought
Speaker 1: he just fixed it, soaked it's clothes, his hair, and
Speaker 1: after emitting a weak crack, killed his radio. He knew
Speaker 1: he'd be staying late for this job. And just a
Speaker 1: few roads away, Dave Stewart flicked his kettle on and
Speaker 1: neatly arranged two mugs in front of the teapot. He
Speaker 1: poured a small amount of milk into a jug and
Speaker 1: positioned a silver spoon into a small pot of sugar. Meanwhile,
Speaker 1: Bob Dylan, now exhausted from the Cabby's NonStop and derogation,
Speaker 1: was desperate to get out of this AXI. Just here
Speaker 1: on the left, he told the driver. Dylan wasted no time,
Speaker 1: jumping out of the back seat and marching up the
Speaker 1: steps to number one. Dave Stewart's doorbell rang out. Just
Speaker 1: as the kettle steamed up his kitchen, he cleared his
Speaker 1: throat and strolled to his front door. He opened it
Speaker 1: to reveal not who he was expecting, but a postman
Speaker 1: with a large parcel from his record company r C. A.
Speaker 1: Stewart lingered at the door. After receiving the package. He
Speaker 1: looked up and down the street, but he was unusually quiet.
Speaker 1: Bob Dylan ran his hand through his wild hair and
Speaker 1: pushed the bell of number one forty one. Almost instantly,
Speaker 1: he was greeted by a woman. Does Dave live here?
Speaker 1: Dylan asta, Why, yes, she responded, but he's not here
Speaker 1: at the moment. He's due back soon if you wanted
Speaker 1: to wait. Dylan walked inside, and just before she closed
Speaker 1: the door, the woman asked, is it really you? At
Speaker 1: eighty one m Field Avenue, Ed's finally got the sink
Speaker 1: under control and stood holding his recently deceased radio. His
Speaker 1: client asked who he can make the checkout too? My
Speaker 1: friends call me eds game. The response he should make
Speaker 1: it out to Dave Edwards. Inside Crouch gent Hill, Bob
Speaker 1: Dylan sat in the front room, listening to the ticking
Speaker 1: of the clock as the woman who had welcomed him inside,
Speaker 1: brought him a mug of tea. She told him that
Speaker 1: Dave wouldn't be too long now. Dylan smiled and didn't
Speaker 1: say anything. His eyes scanned the large stack of records
Speaker 1: on the shelf in the room, not a single release
Speaker 1: by The Rhythmics, in fact, nothing from the British pop
Speaker 1: scene at all. He looked closer and saw his own
Speaker 1: name on the spine of one LP, a copy of
Speaker 1: his nineteen sixty three album The Freewheel and Bob Dylan.
Speaker 1: The door of the front room suddenly swung open, and
Speaker 1: then walked Dave Edwards, a k a. Eds home for
Speaker 1: the night after a long day of repairing wee he sinks.
Speaker 1: He could hardly believe his eyes. He looked at the
Speaker 1: man standing in his front room clutching his copy of
Speaker 1: The Freewheel and Bob Dylan, and then looked at the
Speaker 1: man on the cover of the album and then gassed
Speaker 1: it's you. Bob. Dylan meanwhile realized that he had copied
Speaker 1: down the wrong address and that he was now being
Speaker 1: greeted by the wrong Dave. A few roads away, Dave
Speaker 1: Stewart picked up an unused mug that had sat on
Speaker 1: his counter for hours. He looked at it for a
Speaker 1: moment and then put it back into the cupboard. I
Speaker 1: guess Bob's busy, he said to himself. He walked back
Speaker 1: into his living room and turned on his record player.
Speaker 1: He scanned the album stacked on the shelf. With Dylan
Speaker 1: on his brain, he figured that tonight was as good
Speaker 1: as any night to spend. Blood on the Tracks. Blood
Speaker 1: on the Tracks produced by Double Elvis in partnership with
Speaker 1: I Heart Radio. It's hosted an executive produced by me
Speaker 1: Jake Brennan, also Exact Get It produced by Brady sath
Speaker 1: Zeth Lundi is lead editor and producer. This episode was
Speaker 1: written by Ben Burrow, Story and copy editing by Pat Healy.
Speaker 1: Mixing and sound designed by Colin Fleming. Additional music and
Speaker 1: score elements by Ryan Spreaker. This episode feature Chris Anzeloni
Speaker 1: is Bob Dylan. Sources for this episode are available at
Speaker 1: double Elvis dot com and the Blood in the Tracks
Speaker 1: series page. Follow Double Elvis on Instagram at double Elvis
Speaker 1: and on Twitch at s Grace Santa Talks, and you
Speaker 1: can talk to me per usual on Instagram and Twitter
Speaker 1: at Disgrace land Pond rock and roll or dead