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

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Speaker 1: Radio and Double Elvis. John Lennon was a musical genius

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Speaker 1: and one of the most beloved cultural figures of the

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Speaker 1: twentieth century. His songs inspired dreamers to imagine, his search

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Speaker 1: for the truth gave power to the people. But some

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Speaker 1: thought he dreamed too much. Others thought he was too powerful.

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Speaker 1: So he was followed, he was threatened, he was declared

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Speaker 1: a danger to the United States, and in night he

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Speaker 1: was assassinated. This is his story told by his so

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Speaker 1: called friends. This is special Agent Jim Steele with the

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Speaker 1: Federal Bureau of Investigation work in case number double oh

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Speaker 1: nine dash zero eight dash zero four nine one case

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Speaker 1: subject of Glennon, John Winston oh No. This information pertains

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Speaker 1: to a period and in December seven interview subject as

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Speaker 1: Yuko own Oh Lennon interview number zero dash zero two

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Speaker 1: DATS zero six one dash nine one. Recall number one December.

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Speaker 1: If John Lenning was assassinated, they did a hell of

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Speaker 1: a job, just like the job they did on John F. Kennedy.

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Speaker 1: That was a hell of a job. They've gotten rid

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Speaker 1: of so many of the great ones over the years.

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Speaker 1: You know, if Mark David Jackman was a dupe, like

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Speaker 1: the Harvey Oswald was that he was the perfect people.

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Speaker 1: They couldn't have picked the crazier guy. John was about

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Speaker 1: to start the talking. He was about to become active again,

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Speaker 1: not just with music but publicly. It's the perfect time

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Speaker 1: to get rid of him. It's certainly a possibility. And

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Speaker 1: if it wasn't the government, there were others that could

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Speaker 1: have worried about the picture. People felt threatened, who felt betrayed,

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Speaker 1: people who let a grudge, maybe a spiritual bludge or

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Speaker 1: political blutch. Well, no, bros, don't we I know I've

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Speaker 1: got a few, God knows, I know a thing or

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Speaker 1: two about threats and grudges and all that messing stuff,

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Speaker 1: the stuff that leaves so much the tracks. Chapter three,

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Speaker 1: John Lennon and Phil Specter. H fuck John Lennon. There

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Speaker 1: I said it. It had to be said. Who else

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Speaker 1: is gonna say it? You've thought it, you just wouldn't

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Speaker 1: dare say it out loud. But I'll dare. Why Because

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Speaker 1: I gave John opportunity after opportunity, each one better than

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Speaker 1: the last, And the more I tried to help him,

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Speaker 1: the more ungrateful he became. Look, I know he was

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Speaker 1: a Beatle, but I'm Phil Specter. Okay, the playing field

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Speaker 1: is at least even. Look, it's the nineteen seventies. John

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Speaker 1: didn't want to be a Beatle. Fine, it's a free country.

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Speaker 1: I'm assuming it's a free country over in England, too

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Speaker 1: free enough to not be a Beatle if you don't

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Speaker 1: want to be, So what are you gonna do when

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Speaker 1: you decide to throw in the towel on the biggest

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Speaker 1: band and on the planet. You've got to reinvent yourself, right, Okay?

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Speaker 1: Also fine, John spent the nineteen seventies distancing himself from

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Speaker 1: the Beatles, but he didn't know who the hell he

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Speaker 1: wanted to be. Next working class hero. Please. If he

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Speaker 1: was working class, then I made bare bones Folk Records

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Speaker 1: with a nylon string guitar. This is the guy who

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Speaker 1: just had to call his record company to get ten

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Speaker 1: thousand dollars and walking around money bam, just like that

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Speaker 1: when he came out to l a look takes one

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Speaker 1: to know one, Okay. The point is John Lennon didn't

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Speaker 1: know what he wanted one and doubt fuck it. And

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Speaker 1: then I walked in and I showed him what he

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Speaker 1: could be. I flew out to England and we made

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Speaker 1: Plastic Ono Band and imagine they're great fucking records. They

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Speaker 1: didn't just give John a glimpse of who he could be.

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Speaker 1: They also proved that I could play against Type two

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Speaker 1: and make a lean, emotional statement that didn't have giant

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Speaker 1: band behind it. He liked what we did on those

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Speaker 1: records so much that once he was living in the

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Speaker 1: United States, he flew out to l A to make

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Speaker 1: another record with me. Don't let Yoko tell you different.

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Speaker 1: That's why he came out there. It's true that he

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Speaker 1: and Yoko were going through a tough time, but the

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Speaker 1: time he spent in l A was because he was

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Speaker 1: there to make a record with me, not because Yoko

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Speaker 1: ordered him to go to the other side of the

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Speaker 1: country just to blow the cobwebs out of his brain.

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Speaker 1: Ask May Pang, she'll back me up. May was John's

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Speaker 1: assistant and also his travel companion, and also the woman

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Speaker 1: he carried on an affair with while he and Yoko

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Speaker 1: were on the rocks. This is the start of the

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Speaker 1: period that everyone calls the Lost Weekend, even though it

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Speaker 1: wasn't a weekend. It was eighteen long months of estrangement

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Speaker 1: between those two and there was nothing lost about it, honestly.

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Speaker 1: I mean yeah, John spent most of it high as ship,

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Speaker 1: but we were all high as ship. Excuse me, are you?

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Speaker 1: Mr Phil Specter? Look, it's been a real bad day.

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Speaker 1: Could you come back in April. That's why the l

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Speaker 1: A sessions were a bit of a disaster. Everyone was stoned.

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Speaker 1: We drank directly out of vodka bottles. And it was

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Speaker 1: a record that John was essentially forced to make by

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Speaker 1: Maurice Levy. Of all people, you didn't funk around with

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Speaker 1: Maurice Levy. He knew guys. He was tied to the mob.

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Speaker 1: He owned Birdland in New York City and also Roulette Records.

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Speaker 1: He owned some record store chain to Strawberries, but some

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Speaker 1: of his most prized possessions were the publishing rights to

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Speaker 1: songs like Chuck Berry's you Can't Catch Me. He sued

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Speaker 1: John for repurposing one of the lines from that song

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Speaker 1: and come Together. Okay, you know this whole story, it's boring,

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Speaker 1: bing bang boom. We're making a record entirely of songs

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Speaker 1: that Maurice Levy owns the publishing rights too, so that

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Speaker 1: Marice Levy can make a lot of money off it.

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Speaker 1: When it's released. That's the agreement that he and John

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Speaker 1: came to. I didn't care what we were recording. It

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Speaker 1: was John Lennon, okay, So I knew it was gonna

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Speaker 1: make money no matter what. And also we were recording

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Speaker 1: an album of rock and roll standards. We were going

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Speaker 1: to call it oldies, but Moldi's stuff from the fifties.

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Speaker 1: That's my bag. Man. People said I lived in the past,

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Speaker 1: that I wouldn't let the past go, and then John

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Speaker 1: Lennon comes along and validates my living in the past.

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Speaker 1: It was too good. Plus I had what I wanted,

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Speaker 1: control of those sessions me. John had put me in control.

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Speaker 1: He didn't want control. He trusted me to steer the

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Speaker 1: ship to take his career to the next place. He

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Speaker 1: just wanted to be the singer in a band. He

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Speaker 1: wanted to be told what to do. Phil so a

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Speaker 1: big chance today and m now, let's not fuck it.

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Speaker 1: He told me, Phil, I just want to be Ronnie.

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Speaker 1: You do everything else. He was referring, of course, to

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Speaker 1: my wife at the time, Ronnie Specter, who sang lead

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Speaker 1: in the Ronets back in the sixties. If only he

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Speaker 1: had just stuck with the plan, If only he had

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Speaker 1: just trusted me. See, the sessions in Los Angeles were

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Speaker 1: my sessions. Okay, it was my money and my time,

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Speaker 1: and so as far as I was concerned, I owned

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Speaker 1: those master tapes. He says. I held the tapes hostage.

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Speaker 1: I was just protecting what was rightfully mine. When I

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Speaker 1: realized the whole thing was going to ship because the

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Speaker 1: sessions were fucked up, there was this damn bird at

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Speaker 1: the window, and then there were more noises coming from outside,

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Speaker 1: always just bleeding into the studio. And then the bass

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Speaker 1: player got into a car wreck, and then I got

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Speaker 1: into a car wreck. And the whole time, John still

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Speaker 1: doesn't know what he wants to be doing with his life.

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Speaker 1: I'm gonna be a nine year old. There were some

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Speaker 1: good times, the kind of times I can barely remember.

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Speaker 1: You know they were good when you can't remember. The

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Speaker 1: sessions would spill out into the l a nightlife. We

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Speaker 1: hit the restaurants, drunk and stoned and make a scene.

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Speaker 1: Jesse Ed came with us. That's Jesse d a us

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Speaker 1: fucking great guitar player. This one night we were at

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Speaker 1: the Brasserie and Sunset Plaza. I remember being under the

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Speaker 1: dining table with John giggling like a couple of teenagers

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Speaker 1: with their first whiffs of reefer. I'd shake up a

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Speaker 1: champagne bottle and tell John to open wide. He would,

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Speaker 1: and I'd popped the cork out of the bottle and

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Speaker 1: shoot champagne right in his face. Meanwhile, Jesse Ed is

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Speaker 1: drunkenly trying to reassure the restaurants staff and the other

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Speaker 1: customers that everything is all right. Don't worry. It's just

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Speaker 1: a beatle and the world's most famous record producer rolling

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Speaker 1: around on the floor covered in champagne. Right. John and

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Speaker 1: I eventually emerged from under the table and got on

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Speaker 1: top of the table. I think I had put some

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Speaker 1: carrot sticks in my ears. John was laughing so hard

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Speaker 1: I thought he'd puke. I yelled, hey, John, watch this,

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Speaker 1: and I did this backflip off the table. I mean,

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Speaker 1: I thought I did a graceful backflip. I don't think

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Speaker 1: I'd ever attempted a backflip before that moment. All I

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Speaker 1: did was bend the funk out of my back midair,

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Speaker 1: and before my body could rotate the full sixty degrees,

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Speaker 1: I hit my head off the goddamn floor and I

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Speaker 1: bit down on my tongue. That was where the fun ended.

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Speaker 1: That night. My head hurt, my tongue was swollen. It's like,

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Speaker 1: what do you call it? A metaphor. It's like a

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Speaker 1: metaphor for me and John. It was all fun and

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Speaker 1: games until somebody got hurt and I got hurt. I

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Speaker 1: don't know what Yoko told you, but I'm guessing she

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Speaker 1: didn't tell you a real reason why she and John

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Speaker 1: were in the United States in the first place. I

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Speaker 1: know the real reason. It was Yoko's daughter, ki Yoko.

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Speaker 1: Yoko's ex husband, Tony Cox. He was hiding out here, there,

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Speaker 1: and everywhere with Kiyoko and wasn't allowing Yoko to see

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Speaker 1: her or talk to her. He eventually made his way

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Speaker 1: to Houston, of all places, with Kyoko and his new wife.

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Speaker 1: So Yoko wanted to be in the US to hunt

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Speaker 1: down her ex husband in order to see your daughter. Now.

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Speaker 1: Shortly before Tony went to Houston, Kei and Yoko had

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Speaker 1: a shared custody arrangement when it came to Kiyoko, but

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Speaker 1: Tony was more than a little wary of John and

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Speaker 1: Yoko's lifestyle. He was concerned that the way they lived

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Speaker 1: was an appropriate environment for a child. He even started

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Speaker 1: to worry that Yoko would keep Kiyoko from him. And

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Speaker 1: there was a car wrex somewhere in the Scottish Highlands,

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Speaker 1: I believe, when Kiyoko and John's son Julian were in

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Speaker 1: the car. Anyway, Tony got squirrely. First he decided that

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Speaker 1: he had to be present when Kyoko was with John

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Speaker 1: and Yoko. And then one day Tony disappeared and he

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Speaker 1: took Kiyoko with him. Kyoko was seven at the time.

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Speaker 1: Someone close to both parties told John and Yoko that

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Speaker 1: Tony had decamped to Malorca, Majorca whatever, that that Spanish island.

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Speaker 1: He was there for some spiritual guidance courtesy of some

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Speaker 1: yogi or shaman or whatever the fuck. And so you

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Speaker 1: know what John and Yoko did. They went after them.

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Speaker 1: They went to get Kiyoko. It was March or April.

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Speaker 1: John and Yoko flew out to the island. They had

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Speaker 1: to charter their own flight. They got there in Yoko

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Speaker 1: called Tony. Tony agreed to meet with her, but only

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Speaker 1: if she came alone. This is around the time that

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Speaker 1: John learns that Tony is shacking up with this Maharishi

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Speaker 1: guy and ship. Well, you know about John and Maharishi's.

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Speaker 1: There are a bunch of phonies in John's eyes, so

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Speaker 1: no doubt John c's read when he hears this, not

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Speaker 1: really for any other reason than he really doesn't like Maharishi's.

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Speaker 1: Yoko does some recon and finds Kiyoko is at a

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Speaker 1: school nearby, like a place for the kiddies to be

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Speaker 1: while the adults all achieve higher consciousness or whatever. So

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Speaker 1: she gets John and another friend of theirs, Dan Richter,

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Speaker 1: and the three of them sneak into the place in

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Speaker 1: broad daylight. It's like the fucking Great Escape. They were

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Speaker 1: literally crouching, sneaking through doors and across halways, being extra

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Speaker 1: careful that they're not found out by any adults working there.

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Speaker 1: Or maybe worse, some kids screams out that there's these

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Speaker 1: two strangers skulking around a fucking kindergarten. Now, according to

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Speaker 1: who you believe, one of two things happened. Either Yoko

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Speaker 1: spots Kiyoko playing in a group of kids, and when

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Speaker 1: their eyes locked, Kiyoko runs into her mother's outstretched arms

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Speaker 1: like any seven year old who has been taken away

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Speaker 1: from their mother would, Or it was Dan Richter, John

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Speaker 1: and Yoko's aiding and a betting friend who made the

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Speaker 1: daring kidnap of Kyoko. Because look, that's what it was.

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Speaker 1: They kidnapped Kyoko. One of the teachers screams out loud. John, Yoko,

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Speaker 1: and Dan high tailed it out of the school with

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Speaker 1: Kyoko in their arms. They got to their car, which

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Speaker 1: was parked right outside. John and Yoko jump in the

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Speaker 1: back seat with Kiyoko, and Dan drove. You've got to

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Speaker 1: think that reality was setting in hard for all of

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Speaker 1: them at this point. John and Yoko are literally on

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Speaker 1: the floor of the back seat, Kiyoko in their arms,

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Speaker 1: freaking out, and Kiyoko was realizing that she's been taken

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Speaker 1: from her father, and you've got Dan driving this hot

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Speaker 1: mess around. Cops found them at John and Yoko's hotel suite.

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Speaker 1: Later that night, John and Yoko were arrested, Dan Richter disappeared,

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Speaker 1: Kyoko went back to Tony Cox, and then Alan Klein

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Speaker 1: flew in, you know, the Beatles business manager who was

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Speaker 1: busy screwing them all over. So Alan came in and

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Speaker 1: took over, and thanks to him, John and Yoko didn't

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Speaker 1: do time in a Spanish prison or anything. A few

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Speaker 1: years later, when John was in l A and we

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Speaker 1: were attempting to make that rock and roll record. His

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Speaker 1: first son, Julian, came out to visit. Julian lived with

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Speaker 1: his mother back in England. John didn't see him all

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Speaker 1: that much. I know it was hard for John, and

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Speaker 1: I know all the drama surrounding Kiyoko only added to

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Speaker 1: the conflict of feelings he had as a parent who

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Speaker 1: wasn't a regular part of his kid's life. Relationships with

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Speaker 1: John could be strange. They'd start fine and then they'd sour,

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Speaker 1: or like in Julian's case, they started off rocky and

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Speaker 1: got better as the years went on. I mean ship

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Speaker 1: John threatened to have his own father shot, his body

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Speaker 1: dumped out at sea. I ain't kidding, man. John got

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Speaker 1: cozy with the Maharishi and then things went south. He

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Speaker 1: bought into the primal scream guy jam and off when

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Speaker 1: we were doing that Plastic Go No Band album, and

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Speaker 1: then turned his back on it. He was all buddy

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Speaker 1: buddy with John Sinclair and Bobby Seal and all those radicals,

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Speaker 1: and then thought better about it and shut his yap

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Speaker 1: when it came to politics. So when he accused me

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Speaker 1: of stealing the tapes, of the oldies. But Moldy sessions

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Speaker 1: my tapes. Remember I knew where the relationship was going.

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Speaker 1: John no longer wanted me around, I guess, so we

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Speaker 1: made a deal and both got what we wanted. I

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Speaker 1: got ninety grand from a Capitol Records exact and exchange

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Speaker 1: for handing the tapes over, and John got to move

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Speaker 1: on without me. But what really pisces me off is

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Speaker 1: that John Lennon would then go on to use me

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Speaker 1: use my name as an excuse for why his record

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Speaker 1: wasn't done. When Mars Levy and his tough guys came calling,

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Speaker 1: we'll be right back after this world, World, World, Maurice

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Speaker 1: Levy told John they had to meet in the fall

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Speaker 1: of nine. Maurice Levy wanted to know where the funk

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Speaker 1: his record was. He was waiting to reap the royalties

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Speaker 1: from all those rock and roll tunes. He owned the

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Speaker 1: publishing rights too. Remember, he had given John a break

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Speaker 1: and decided not to sue his ask for millions of dollars.

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Speaker 1: But this was the compromise. John had to make the record,

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Speaker 1: but the record was late. John was late. Now John

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Speaker 1: had just gotten the tapes back from me, and the

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Speaker 1: sessions had been such a drunken mess that only a

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Speaker 1: handful of songs could be salvaged for release. Is that

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Speaker 1: my problem? I did what I was told, I took

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Speaker 1: control and told everyone what to do. But you know,

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Speaker 1: people don't listen, and then when they do listen, there's

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Speaker 1: a goddamn bird outside the window, or someone rams into

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Speaker 1: your car, and that lays you up in bed for weeks.

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Speaker 1: So Maurice Levy tells John to meet him at Club Cavallero,

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Speaker 1: fifty eighth Street, New York City, right between Fifth and Madison. God,

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Speaker 1: let me tell you, I don't miss New York City.

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Speaker 1: But John was back in New York, still on his

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Speaker 1: so called lost weekend trip, shacking up with May Pang

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Speaker 1: in an apartment while Yoko skulked in their place at

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Speaker 1: the Dakota, was probably trying to figure out if she

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Speaker 1: would ever take him back. His affair with May was

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Speaker 1: full blown, and as usual, I don't think he knew

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Speaker 1: what the funk he wanted. So John went to Club

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Speaker 1: Cavallero and brought May with him along with his lawyer,

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Speaker 1: this guy Harold Sada Maurice Levy on the Cavallero. Now,

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Speaker 1: I told you before that Mars knows guys he had

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Speaker 1: ties to organized crime for years, though no one would

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Speaker 1: be able to prove it until much later. At least

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Speaker 1: five federal grand juries are investigating allegations of mafia involvement

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Speaker 1: in the music business, and Tuesday, a grand jury in Newark,

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Speaker 1: New Jersey, returned to one seventeen count indictment against people,

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Speaker 1: including Marius Levy, a powerful figure in the music business

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Speaker 1: who owns record companies and record stores. He was a

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00:19:05,240 --> 00:19:08,800
Speaker 1: shady guy. He would find ways to give himself writing

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Speaker 1: credit on a song, even though he'd never written a

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Speaker 1: bar of music in his goddamn life, so that he

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Speaker 1: could get richer and richer off the artists who worked

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Speaker 1: for him. When it came to running his label, Roulette Records,

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00:19:23,880 --> 00:19:28,359
Speaker 1: he ran it like a mob boss. You've heard of Payola, right, Well,

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00:19:28,400 --> 00:19:35,200
Speaker 1: this ship was like Paola or Elsa. He'd grabbed the

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Speaker 1: latest Roulette forty five, pick up a couple of fancy

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Speaker 1: prostitutes in his nice car, and then drive to meet

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Speaker 1: with disc jockeys. Morris would give them the new Roulette

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Speaker 1: singles along with an envelope of cash, let the DJ's

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Speaker 1: party with the prostitutes, and in return Roulette singles would

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Speaker 1: get significant airplay. If you were a DJ and Mars

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Speaker 1: Levy worked you over like that with some dough and

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Speaker 1: a plain white envelope and some ready willing hookers. Holy shit, man,

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Speaker 1: you'd better play those fucking records, because if you didn't,

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Speaker 1: Morris would come back, and this time he'd bring some

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Speaker 1: guys on the payroll who enjoyed breaking kneecaps with baseball bats.

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Speaker 1: There is no connection between the mob and the music business.

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Speaker 1: John knew this. He knew who he was dealing with

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Speaker 1: when he walked into Club Cavallero. He was walking into

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Speaker 1: a meeting with a disappointed Maurice Levy. John had to

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Speaker 1: deal with this guy to release a record, and John

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00:20:30,640 --> 00:20:33,680
Speaker 1: delayed the release, and then he wound up releasing an

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Speaker 1: entirely different album while the tapes for this project sat

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Speaker 1: on a shelf and gathered dust. John was in breach

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Speaker 1: of his contract with Maurice Levy. No bueno. He was

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Speaker 1: greeted inside the Cavallero by some of Marris's guys, big

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Speaker 1: guys who barely fit into their polo shirts, and they

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Speaker 1: all sat on either side of him at this horse

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Speaker 1: shaped table inside. There was no way out for John,

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Speaker 1: they could do whatever the hell they wanted to him.

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Speaker 1: What's he gonna do to Morris's place? Morris's guys, Morris's

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Speaker 1: rules only in America? Am I right? You think? At

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Speaker 1: some point along the way, John thought, why don't I

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Speaker 1: just go back to England, you know, because America's nuts man.

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Speaker 1: So after a few minutes of awkward conversation with these cronies,

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Speaker 1: mars Levy finally walks in the room, sits down at

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Speaker 1: the table, and asks John point blank, what's the fucking problem?

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Speaker 1: And guess what? He throws me under the bus, says,

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Speaker 1: it's all my fault. I'm the problem. Phil Specter, he

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00:21:39,680 --> 00:21:42,239
Speaker 1: called me a loon, said I was out of my

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Speaker 1: mind that I came and went, that I couldn't control

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Speaker 1: the players, that I shot a gun off in the studio, which, okay,

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00:21:50,600 --> 00:21:58,639
Speaker 1: I'll admit that did happen, But listen, shit happens. John

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Speaker 1: tried to buy off Morris Levy, or rather his lawyer,

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Speaker 1: Harold Sayer did. Harold asked Morris if a cool two

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Speaker 1: grand would smooth things over? Can you believe that John

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Speaker 1: tried to Maurice Levy? Maurice Levy, I'm sure Mars just

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Speaker 1: laughed at that offer. John Lennon was on the hook brother,

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Speaker 1: whether he liked it or not. And you know, unlike me,

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Speaker 1: John couldn't just sever that relationship. But look, here's my

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Speaker 1: point in all this rambling. Okay, John made and unmade

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Speaker 1: these relationships with people, and I'm not entirely convinced that

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00:22:33,480 --> 00:22:38,920
Speaker 1: they didn't get him killed. You dig, you piss off

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00:22:38,920 --> 00:22:41,600
Speaker 1: a guy like Maurice Levy, who knows what he'll do

359
00:22:41,640 --> 00:22:48,399
Speaker 1: to you tomorrow, the next day, the next year. You

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Speaker 1: piss off the United States government. You piss off a

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Speaker 1: protective father like Tony Cox. I for one, never saw

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Speaker 1: John in person again after that whole Oldies, But Moldi's mess.

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Speaker 1: Who knows what would have happened had our paths crossed?

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Speaker 1: What do you think I would have said? What do

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Speaker 1: you think I would have done? In the summer of

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Speaker 1: ninety three, Americans binged on nostalgia at their local movie

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Speaker 1: theater American Graffiti, George Lucas's movie about high school graduates

368
00:23:50,640 --> 00:23:52,879
Speaker 1: tooling around in their cars on the last night of

369
00:23:52,880 --> 00:23:57,960
Speaker 1: summer vacation in Modesto, California, was a sleeper hit. The

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00:23:58,000 --> 00:24:01,760
Speaker 1: movie represented a more innocent time in America's history, before

371
00:24:01,800 --> 00:24:06,359
Speaker 1: President Kennedy was assassinated, before Vietnam, before whatever it was

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Speaker 1: that was happening in the Watergate Hotel. Audiences left the

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Speaker 1: movie feeling better than they had felt when they walked in,

374
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Speaker 1: and most kept right on walking to their local record store,

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Speaker 1: where they bought a copy of the movie soundtrack. The

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00:24:20,600 --> 00:24:23,920
Speaker 1: Double LP soundtrack was chock full of forty one hits

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Speaker 1: from rock and rolls golden era in the late nineteen

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Speaker 1: fifties and early sixties, from heavy hitters like Buddy Holly,

379
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Speaker 1: Dell Shannon, and the Platters. Even though the songs represented

380
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Speaker 1: an era that was little over a decade in the

381
00:24:36,160 --> 00:24:40,040
Speaker 1: rear view, the wistfulness to be transported back in time

382
00:24:40,240 --> 00:24:43,600
Speaker 1: was palpable. The soundtrack peaked at number ten on the

383
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Speaker 1: Billboard chart. It went on to sell three million copies.

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Speaker 1: Less than two years later, in January of nine, Audiences

385
00:24:52,040 --> 00:24:55,639
Speaker 1: continued to crave nostalgia for sock Hops and Wolfman Jack

386
00:24:55,760 --> 00:24:58,920
Speaker 1: in Happy Days served it up every Tuesday night on ABC.

387
00:25:00,040 --> 00:25:02,800
Speaker 1: It was perhaps during an original episode of Happy Days

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Speaker 1: on a Tuesday night that viewers would have seen an

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Speaker 1: ad for John Lennon's new album. It was news to

390
00:25:08,440 --> 00:25:10,679
Speaker 1: everyone who saw the ad for the first time. A

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00:25:10,720 --> 00:25:13,320
Speaker 1: new album by an ex Beatle was an event, after all,

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Speaker 1: but it was also news to the man on the

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00:25:15,359 --> 00:25:19,560
Speaker 1: album cover, John Lennon, knew nothing about it. John's jaw

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00:25:19,680 --> 00:25:21,359
Speaker 1: hit the floor when he saw the ad for the

395
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Speaker 1: first time. True, he was planning to release a new

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00:25:25,359 --> 00:25:28,320
Speaker 1: album called rock and Roll, the longest dating collection of

397
00:25:28,400 --> 00:25:31,600
Speaker 1: classic covers that he had begun and aborted with Phil Spector.

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Speaker 1: It was finally due to be released in April, but

399
00:25:34,600 --> 00:25:37,159
Speaker 1: it was January and this album he was seeing on

400
00:25:37,200 --> 00:25:39,600
Speaker 1: the TV screen wasn't his album at all, But what

401
00:25:39,680 --> 00:25:42,800
Speaker 1: the hell is this? The album's cover was nauseating bright

402
00:25:42,880 --> 00:25:45,240
Speaker 1: yellow and featured a photo of John's face that was

403
00:25:45,280 --> 00:25:48,359
Speaker 1: at least six years old. The album was titled Roots.

404
00:25:48,560 --> 00:25:51,560
Speaker 1: John Lennon Sings the Great rock and Roll Hits, and

405
00:25:51,640 --> 00:25:55,560
Speaker 1: to add insult to injury, the voiceover pitch was cheesy schlock,

406
00:25:55,720 --> 00:26:05,600
Speaker 1: promising listeners that nauseating, bright yellow cover, cheesy schlock voiceover

407
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Speaker 1: pitch fifteen great hits on one record album for only

408
00:26:09,880 --> 00:26:14,399
Speaker 1: four dollars and cents. It was obvious to John that

409
00:26:14,760 --> 00:26:17,960
Speaker 1: this was the work of Maurice Levy. John remembered that

410
00:26:18,000 --> 00:26:19,720
Speaker 1: he had sent rough mixes of the songs he had

411
00:26:19,760 --> 00:26:21,560
Speaker 1: been working on for the rock and Roll album to

412
00:26:21,680 --> 00:26:24,600
Speaker 1: Levy to prove that he was actually making progress and

413
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Speaker 1: wasn't continuing to jerk Levy around. What had become increasingly

414
00:26:28,880 --> 00:26:32,320
Speaker 1: obvious to John was that Maurice Levy had taken those

415
00:26:32,480 --> 00:26:35,040
Speaker 1: rough mixes and decided to go ahead and release them

416
00:26:35,080 --> 00:26:38,359
Speaker 1: as his own album on his budget label, Adam eight.

417
00:26:41,080 --> 00:26:43,840
Speaker 1: John got pissed at Levy. Levy was still pissed at John.

418
00:26:43,920 --> 00:26:46,560
Speaker 1: Levy sued John for defaulting on the original judgment to

419
00:26:46,600 --> 00:26:49,320
Speaker 1: deliver him the rock and Roll record on time. John

420
00:26:49,400 --> 00:26:52,760
Speaker 1: Connor sued for releasing unfinished mixes under his name without

421
00:26:52,760 --> 00:26:55,720
Speaker 1: his approval. John was ordered to pay Levy almost seven

422
00:26:55,720 --> 00:26:59,240
Speaker 1: thousand dollars in damages, but Levy suffered more. He was

423
00:26:59,320 --> 00:27:01,560
Speaker 1: ordered to pay on close to a hundred and fifty

424
00:27:01,560 --> 00:27:05,439
Speaker 1: thousand dollars, and, more importantly to John, the budget compilation

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Speaker 1: album rushed out on Levy's Adam eight label was yanked

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Speaker 1: from stores. John Lennon was concerned about more than lawsuits. However,

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00:27:13,560 --> 00:27:15,919
Speaker 1: He was worried that both the Rock and Roll and

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00:27:16,119 --> 00:27:19,639
Speaker 1: Roots records were merely riding the coattails of the ongoing

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00:27:19,720 --> 00:27:23,560
Speaker 1: nostalgia wave. That he was no longer a trailblazer, he

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00:27:23,640 --> 00:27:27,080
Speaker 1: was merely a trend follower. He worried his relevance would

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00:27:27,119 --> 00:27:30,399
Speaker 1: fade away, just like the relevance of Phil Specter, the

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00:27:30,440 --> 00:27:32,480
Speaker 1: man who had attempted to make the rock and roll

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00:27:32,520 --> 00:27:36,000
Speaker 1: record with him. His relevance was fading and was replaced

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00:27:36,000 --> 00:27:39,439
Speaker 1: by rumors in crazy stories full of drugs, firearms, and

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00:27:39,560 --> 00:27:43,679
Speaker 1: routine insanity. John Lennon had his own rumors that were

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00:27:43,720 --> 00:27:46,879
Speaker 1: following him around, and they all came from the same place,

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00:27:47,440 --> 00:27:52,320
Speaker 1: Los Angeles. In Los Angeles, in self imposed exile away

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00:27:52,359 --> 00:27:55,640
Speaker 1: from his wife Yoko Ono, John was assisted by other

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00:27:55,720 --> 00:27:59,280
Speaker 1: musicians and so called friends who aided in the obliteration

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00:27:59,359 --> 00:28:03,160
Speaker 1: of whatever made of his beetle image. In Los Angeles,

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00:28:03,440 --> 00:28:06,640
Speaker 1: he was no longer John Lennon. He was Dr Winston

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00:28:06,760 --> 00:28:09,640
Speaker 1: Oh Boogie who loved rock and roll, but who loved

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00:28:09,720 --> 00:28:12,879
Speaker 1: chaos and debauchery even more. He hung out with other

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00:28:12,960 --> 00:28:16,520
Speaker 1: co conspirators who were working on setting their own images ablaze,

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00:28:16,760 --> 00:28:19,320
Speaker 1: guys with names like Baron von Moon in a hard

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00:28:19,400 --> 00:28:24,159
Speaker 1: drinking celebrity bar crawl collective called the Hollywood Vampires. He

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00:28:24,200 --> 00:28:27,399
Speaker 1: had since returned to New York City and reconciled with Yoko,

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00:28:27,800 --> 00:28:29,800
Speaker 1: but the truth about what had happened in l A

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00:28:30,440 --> 00:28:34,240
Speaker 1: wasn't going away anytime soon. John wanted to get back,

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00:28:34,600 --> 00:28:38,120
Speaker 1: not exactly to where he once belonged, but to a place,

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00:28:38,280 --> 00:28:41,840
Speaker 1: maybe a state of mind, when things weren't so complicated,

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00:28:42,360 --> 00:28:46,440
Speaker 1: back to a time before it was so much Blood

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00:28:46,920 --> 00:29:04,200
Speaker 1: on the Tracks. All right, everybody, thanks for listening to

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00:29:04,240 --> 00:29:06,360
Speaker 1: Blood on the Tracks. If you like what you hear,

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00:29:06,440 --> 00:29:08,640
Speaker 1: be sure to find and follow Blood on the Tracks

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00:29:08,680 --> 00:29:12,160
Speaker 1: on Apple podcast, I Heart Radio, app, Amazon Music, or

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00:29:12,160 --> 00:29:15,320
Speaker 1: wherever you get your podcasts. On this season two of

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00:29:15,320 --> 00:29:17,960
Speaker 1: Blood on the Tracks, we'll be releasing ten episodes on

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00:29:18,040 --> 00:29:21,120
Speaker 1: the incredible life of John Lennon, with a new episode

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00:29:21,200 --> 00:29:24,240
Speaker 1: every Thursday. You can also binge all ten episodes of

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00:29:24,240 --> 00:29:27,880
Speaker 1: season one on the insane story of the notorious record

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00:29:27,880 --> 00:29:30,880
Speaker 1: producer Phil Spect right now. It's available wherever you get

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00:29:30,880 --> 00:29:33,760
Speaker 1: your podcasts. This episode of Blood on the Tracks was

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00:29:33,840 --> 00:29:36,960
Speaker 1: written by Zeth Lundie and hosted an executive produced by

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00:29:36,960 --> 00:29:41,040
Speaker 1: me Jake Brennan, also executive produced by Brady sab Story

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00:29:41,120 --> 00:29:44,240
Speaker 1: and copy editing by Pat Healy. This episode was mixed

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00:29:44,240 --> 00:29:48,280
Speaker 1: by Colin Fleming. Additional music and score elements by Ryan Spreaker.

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00:29:48,680 --> 00:29:52,480
Speaker 1: This episode featured Chris Anzelonia as Phil Specter. Blood on

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00:29:52,520 --> 00:29:55,200
Speaker 1: the Tracks is produced by Double Elvis and partnership with

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00:29:55,280 --> 00:29:58,680
Speaker 1: I Heart Radio. Sources for this episode are available at

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00:29:58,680 --> 00:30:01,080
Speaker 1: Double Elvis dot com on the Blood on the Track

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00:30:01,200 --> 00:30:03,640
Speaker 1: series page. If you want to chat about this show

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00:30:03,760 --> 00:30:05,680
Speaker 1: or hear more about the other shows, we're making a

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00:30:05,760 --> 00:30:09,280
Speaker 1: Double Elvis tap in on Instagram at double Elvis, on

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00:30:09,320 --> 00:30:12,560
Speaker 1: Twitter at Double Elvis FM, and now on Twitch, where

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00:30:12,600 --> 00:30:15,320
Speaker 1: we're streaming three days a week at Twitch dot tv

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00:30:15,520 --> 00:30:19,680
Speaker 1: slash Double Elvis Podcasts. And finally, be sure to check

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00:30:19,720 --> 00:30:22,800
Speaker 1: out disgrace Land, the award winning music and true crime

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00:30:22,840 --> 00:30:26,240
Speaker 1: podcast that I also host. Disgrace Land is available only

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00:30:26,280 --> 00:30:28,960
Speaker 1: on the free Amazon Music app. To hear tons of

481
00:30:28,960 --> 00:30:32,040
Speaker 1: insane stories about your favorite musicians getting away with murder

482
00:30:32,080 --> 00:30:35,440
Speaker 1: and behaving very badly, go to Amazon dot com slash

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00:30:35,480 --> 00:30:37,959
Speaker 1: disgrace Land, or if you have an Echo device, just

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00:30:38,000 --> 00:30:52,000
Speaker 1: say Alexa play the disgrace Land podcast. Rock Alone, Dad,