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

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Speaker 1: Radio and Double Elvis. Phil Spector was a musical genius,

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Speaker 1: one of the most successful record producers of all time.

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Speaker 1: He's now sitting behind bars serving a nineteen years to

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Speaker 1: life sentence for murder. This is his story told by

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Speaker 1: his so called friends. Is a special agent Paul Ramone

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Speaker 1: with the Federal Bureau of Investigation work in case number

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Speaker 1: double oh four Dash ten Dash seven one nine case

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Speaker 1: subject of Specter Philip Harvey. This information pertains to a

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Speaker 1: period ending December eight. Interview subject with Lennon John Winston

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Speaker 1: Interview number one Dash nine seven Dash zero to six

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Speaker 1: Stash six six zero Spirit Confessional Recall number seven October nine,

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Speaker 1: two thousand and six. One Sunday, feel didn't want to work,

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Speaker 1: so he called me and he said, we can't record

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Speaker 1: today the studios burned down. Well, I got someone to

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Speaker 1: call the studio and lo and behold, it wasn't burned down.

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Speaker 1: The following Sunday he calls and I say, what happened?

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Speaker 1: He was supposed to be doing a session, and he

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Speaker 1: whispers to me, I've got the John Deane tapes. I

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Speaker 1: said what he said that John dene tapes, you know Watergate.

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Speaker 1: He tells me his house is surrounded by helicopters and

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Speaker 1: they're trying to get him. None buying this garbage. You know.

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Speaker 1: What he was trying to tell me, in his own way,

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Speaker 1: was that he had my tapes, the tapes for the session,

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Speaker 1: not the John Dene watering it tapes. We had to

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Speaker 1: soothe through capital to get the tapes off. He knew

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Speaker 1: what he was doing by keeping those tapes close. He

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Speaker 1: was keeping the secrets curse, keeping everything close. He didn't

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Speaker 1: want anyone seeing the blood in the tracks. Yah. Chapter seven,

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Speaker 1: Phil Specter and John Lennon. Of course you shot at me.

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Speaker 1: Why does that surprise you? Why do you pretend to

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Speaker 1: be shocked by that information? Would you like me to

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Speaker 1: say something else? Is that what you're expecting, that Phil

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Speaker 1: Spector was a reasonable person, that he had no temper.

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Speaker 1: I mean, they're all crazy. The brilliant ones always are

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Speaker 1: rounded by the other doctors, and we're trying to get him.

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Speaker 1: You can't be brilliant and not fly off the handle

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Speaker 1: like that. I would have been disappointed if he hadn't

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Speaker 1: waved the gun on my face. Okay, perhaps that's an exaggeration,

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Speaker 1: but you get my point. I wasn't upset because he

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Speaker 1: shot at me. I was upset because he shot at

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Speaker 1: me and missed. The bumbling get you down here, blew

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Speaker 1: the hearing out of me. Fucking hear. If you're going

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Speaker 1: to shoot off a revolver in a recording studio, the

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Speaker 1: least you can do is fucking connect with something. You understand.

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Speaker 1: What we should really be talking about is the bullshit

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Speaker 1: that led up to this. Nobody talks about the time

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Speaker 1: that Phil and George Brand hold my drunk ass back

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Speaker 1: to lou Adla's house. Drunk exhabitle carried home doesn't sell

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Speaker 1: papers the way that crazy producers shoots gun and recording

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Speaker 1: studio does. Right, we were recording the rock and roll

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Speaker 1: album with Phil. It was a legal thing, that record

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Speaker 1: was right. Chuck Berry's music publisher was suing me for

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Speaker 1: come together, you know, the to come old flat out

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Speaker 1: of that own nonsense. I had no money. I was broke,

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Speaker 1: you see, al inclined had left the Beatles and Shambles.

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Speaker 1: I was no longer at the top of most of

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Speaker 1: the poppermost. If I had ever been, I'd say, where

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Speaker 1: are we going? Fellers and the top Johnny and I'd say,

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Speaker 1: where is that Fellows for the paper the papers, and

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Speaker 1: I'd say, right, I was in Los Angeles away from

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Speaker 1: Yoko May was there. I made some music with Harry

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Speaker 1: Nilson that we drank more than we worked at any rate.

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Speaker 1: We came up with this idea that instead of paying

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Speaker 1: this guy millions of dollars for copping the Chuck Berry line,

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Speaker 1: I would record a bunch of covers that this guy,

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Speaker 1: Morris Levy was his name, had the publishing rights too.

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Speaker 1: If you're trying to give rock and roll another name,

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Speaker 1: it might be Chuck Berry. So he'd make his money

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Speaker 1: on the royalties of the record sales. That's all it's about,

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Speaker 1: see money, So it is about money. Phil was a

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Speaker 1: natural fit for this, of course we can. These were

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Speaker 1: all old songs from the birth of rock and roll,

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Speaker 1: sort of stuff that Phil and I just loved. Be

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Speaker 1: Babba Lula, you know, Bony Moroney and Sweet Little Sixteen,

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Speaker 1: just like me and Nilson. Me and Phil drank a lot.

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Speaker 1: Things were bad with me and Yoko. She wanted me

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Speaker 1: to get away for a while, just go be wild

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Speaker 1: and get it out of my system, and hopefully I'd

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Speaker 1: come back ready to be domestic. With her again. Our

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Speaker 1: assistant May Pang came with me at Yoko's request, and

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Speaker 1: I was sleeping with her. It wasn't my clearest, how

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Speaker 1: I let alone my finest. Hey, Look, the end of

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Speaker 1: the song is just like the fucking rest of it.

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Speaker 1: We're gonna sing the harmonies, say, oh, Yoko, come on sailing.

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Speaker 1: Keeping with the spirit of the moment. On my eighties

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Speaker 1: from my wife and my life, forced to make a record,

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Speaker 1: to set a little lawsuit higher than Lucy in the

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Speaker 1: Sky on most days. On this particular night, I got

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Speaker 1: myself so wrong that Phil had to end the session

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Speaker 1: I supposed session. He and George Brand carried me back

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Speaker 1: to lou Adlas's place in bel Air, which was where

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Speaker 1: I was staying while I was out west. I was

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Speaker 1: in and out of it, kept on telling and Phil

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Speaker 1: that I loved him, you know, come on give us

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Speaker 1: a kiss. The next thing I know, they had me

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Speaker 1: tied to the bed the prisoner. I came out of

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Speaker 1: my drunken stupor in a rage. The rope of string

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Speaker 1: or whatever they had used was digging into my arms

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Speaker 1: and my ankles. Phil and George together, those two were

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Speaker 1: like loose cannons. Firing away. They enabled each other. May

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Speaker 1: heard my screaming and ran upstairs to see what was

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Speaker 1: going on. Phil and George just left me there. They

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Speaker 1: tried to turn her around and send her away, told

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Speaker 1: her that they were helping me sober up and not

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Speaker 1: to worry. I broke three of the shackles on Lou

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Speaker 1: Adla's bed and just went crazy. May had called someone

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Speaker 1: to help, and I attacked him as soon as he

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Speaker 1: came in the house. I was beyond drunk at this point,

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Speaker 1: you see, I saw red, My vision was blurred, just rage.

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Speaker 1: I saw Phil's face in every single thing. I lashed out.

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Speaker 1: It broke windows, smashed the gold records that Lou had

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Speaker 1: hanging on the walls. Apparently I did get a punch

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Speaker 1: in on Phil before he left the next day of

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Speaker 1: the studio, He'd got some make up, kicked Oliver's face

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Speaker 1: to cover up a black eye when the sunglasses were on.

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Speaker 1: Was he always wore even in the studio. Was he angry, embarrassed, insulted?

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Speaker 1: I couldn't tell. We didn't say all that much to

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Speaker 1: each other. Merl Evans was there, Phil's mom was there.

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Speaker 1: It seemed odd to have so many guests hanging around

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Speaker 1: when it was so tense in there, and then Phil

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Speaker 1: pulls this gun out and he's waving it around. I

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Speaker 1: don't know if he was trying to intimidate me. Like

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Speaker 1: I said before, the brilliant ones are always crazy. Maybe

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Speaker 1: it's just as simple as that. Of course, the hogwash

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Speaker 1: about Phil's gun is never loaded. It's just looks well,

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Speaker 1: that was just that, wasn't it hogwash? He pulled the

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Speaker 1: trigger and shot it right through the ceiling. Mallard to

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Speaker 1: wrestle the gun from his hand. Phil's mum was petrified.

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Speaker 1: It looked at feel dead in the eyes and said, look, man,

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Speaker 1: if you're going to shoot me, shoot me, just don't

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Speaker 1: funk with me. Is when Spector first came to London, Paul,

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Speaker 1: George Ringo and I were just at the worst. We

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Speaker 1: had ended it all. We said, if you want to

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Speaker 1: work with us, go and do your audition. He'd always

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Speaker 1: wanted to work with the Beatles, and he was given

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Speaker 1: the shittiest load of badly recorded shit with a lousy

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Speaker 1: feeling towards it, ever, and he made something out of it.

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Speaker 1: He did a great job. When Phil first came to London,

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Speaker 1: this is nineteen seventy. He was realizing one of his dreams.

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Speaker 1: He worked like a pig on it. We were realizing

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Speaker 1: one of our dreams too. Since he was such a

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Speaker 1: legendary figure, Specter's success is derived from an understanding of

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Speaker 1: what he calls the teams sound, and we were legendary

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Speaker 1: figures as well. I suppose not to tute our own

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Speaker 1: horn loudly. He was a legendary figure who was in

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Speaker 1: a rough patch. Specter's success is unusual. Others, however, are

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Speaker 1: always at his heel. We were in our own rough

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Speaker 1: patch as well. George thought it could be an opportunity

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Speaker 1: for Phil to get some sort of redemption on record.

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Speaker 1: You see, But at that moment things were so shitty

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Speaker 1: between the four of us that Jesus Christ himself could

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Speaker 1: have mixed the record and no one would have been happy,

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Speaker 1: and rightly so what does Jesus know about mixing records? Anyway?

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Speaker 1: Phil always wanted to work with the Beatles, he adds,

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Speaker 1: since the early days when the ronets to the UK

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Speaker 1: and which your America was given the shittiest load of

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Speaker 1: badly recorded ship of lows. He feeling towards it. Ever,

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Speaker 1: and you know what, he made something out of it.

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Speaker 1: He did a great job. Paul didn't think so, of course,

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Speaker 1: but Paul was inclined to hit everything that I loved

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Speaker 1: at the time, and vice versa. We were both cons

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Speaker 1: to one another. You've all filled it. Even got his

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Speaker 1: hands on the lettered B tapes. I asked him to

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Speaker 1: come and record Instant Karma at Abbey Road right after

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Speaker 1: he stepped off the plane. The guys in the band

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Speaker 1: Klaus of Woman, Alan White, Billy Preston didn't know. Phil

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Speaker 1: shut up late wearing a shirt with p s monoground

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Speaker 1: on it. The guys were all like, who the hell

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Speaker 1: is this? It was like he was a parody of

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Speaker 1: Phil Spector, just the way he was dressed, in the

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Speaker 1: he carried himself. He said, I he want this to

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Speaker 1: sound and said nineteen fifties. Now. He said, okay, nineteen fifties.

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Speaker 1: Got it, Let's roll and that was that. That was

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Speaker 1: all he needed. He ran his hands over the desk

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Speaker 1: like a magician, and he got it. It sounded like

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Speaker 1: Sun Records right there on Abbey Road. I saw something

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Speaker 1: of myself and Phil, and I'm not just talking about

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Speaker 1: the music. We had both lost parents at a young age.

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Speaker 1: I think that sort of thing shaped us both more

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Speaker 1: than we like to admit really, So we did plastic

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Speaker 1: Ono Band and we did Imagine. We made Imagine at

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Speaker 1: Tit Nurse Park Ascot Sounds Studios. We built that studio

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Speaker 1: right in the middle of the house that was in

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Speaker 1: the middle of summer, and Phil would show up with

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Speaker 1: these three piece suits, ties, sunglasses. How he made it

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Speaker 1: through some of those hotter days with those wigs on

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Speaker 1: top of his head, I don't know. And then things changed.

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Speaker 1: They did get strange, and he said we can't record

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Speaker 1: to and they got strange on his turf. When we

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Speaker 1: left Berkshire and went to Los Angeles, it was almost

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Speaker 1: as if Phil was more comfortable in the UK and

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Speaker 1: was in his own town. He was like a stranger

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Speaker 1: in his own land. Onesome Dinghi did towards But by

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Speaker 1: the time we were making records in l a shiny

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Speaker 1: phil Specter coating had rusted away. There was something else

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Speaker 1: beneath it. He was knocking back papas all night with

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Speaker 1: swiggs of Manas Chevits. Elton John showed up one day

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Speaker 1: for a visit, and even he was shocked by the instability,

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Speaker 1: the insanity. This is Elton John we're talking about when

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Speaker 1: Elton John says, hey, Fellas, maybe let's take things a

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Speaker 1: bit too far. Well, perhaps you should listen up. Phil

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Speaker 1: started showing up to sessions and different outfits each day,

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Speaker 1: like it was a joke. One day he showed up

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Speaker 1: dressed as a doctor, stethoscope, big metallic circle strapped to

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Speaker 1: his head. Another day he showed up dressed as a priest,

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Speaker 1: giant crucifix. You responded every question with his hand making

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Speaker 1: the sign of the cross. And another day he dressed

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Speaker 1: like he was a blind man, big black glasses in

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Speaker 1: a cane. He just fumbled around the studio, and then

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Speaker 1: some days he didn't show up at all. I tried

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Speaker 1: to track him down to keep him on task. We

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Speaker 1: can't record today. Studios burned down. And then it got worse.

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Speaker 1: Whatever it was, his complacency, his fear, his paranoia. He

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Speaker 1: went deep down this rabbit hole of conspiracy and secrecy,

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Speaker 1: and it was affecting people around him. But he had

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Speaker 1: my tapes, the tapes of the sessions. He would take

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Speaker 1: them home with him every night. Didn't trust anyone, and

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Speaker 1: then he stopped taking my calls. We weren't even done

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Speaker 1: with the record yet. He just disappeared into that house

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Speaker 1: as frigid bleak house had a shoot and carting and

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Speaker 1: take off. He wasn't the person I've gotten to know.

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Speaker 1: It made me question whether or not I even knew

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Speaker 1: the person that I thought he was. We'll be right

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Speaker 1: back after this word word word. Now. Some say I

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Speaker 1: should have known better, that I should have read the

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Speaker 1: writing on the wall. There was a lot on the wall.

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Speaker 1: In my defense, a lot of Phil had put there,

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Speaker 1: a lot that I had put there. But I remember

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Speaker 1: when we made Instant Calmer and the Plastic Ono Band record,

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Speaker 1: and imagine all that Phil came and went. He showed up,

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Speaker 1: he did the work, and he left. I didn't see

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Speaker 1: much more of him beyond his role as a record maker.

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Speaker 1: He was keeping the secret course. But things were different

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Speaker 1: in America almost immediately, and perhaps I should have made

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Speaker 1: closer attention. Taking him down from the pedestalide put him

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Speaker 1: on in my mind and looked at him as a flawed,

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Speaker 1: needy human being. He tells me his house is surrounded

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Speaker 1: by helicopters and we're trying to get him. It was

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Speaker 1: early two and we were making some time in New

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Speaker 1: York City with Phil. Before we started recalling in earnest

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Speaker 1: I heard a story about how he went fucking crazy

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Speaker 1: at the Daisy Club, a member's only spot on Rodeo

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Speaker 1: Drive and Beverly Hills on any given night, A real

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Speaker 1: who's who of ego and fame and wealth, the sort

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Speaker 1: of place that names the sandwiches after the stars, that

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Speaker 1: frequent to joint you. Now, I want a tuna sandwich?

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Speaker 1: What are the Mickey Rooney? A little fresh fruit and

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Speaker 1: cottage cheese? Try the Kirk Douglas. Even Sunny Bono want

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Speaker 1: of Feel's former underappreciated Lackey's. Phil called him sunny Bozo.

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Speaker 1: You know he had his own thing on the menu,

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Speaker 1: liver and onions. But you know who wasn't on the menu,

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Speaker 1: Phil Specter. I can only imagine how much that stung,

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Speaker 1: how much that got under his skin, to see name

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Speaker 1: after Hollywood name on that little Daisy's menu and nothing

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Speaker 1: about him. I'm sure he took it personally. Everything was

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Speaker 1: about him. I came to learn that the more I

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Speaker 1: hung around him, the very absence of his name from

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Speaker 1: a member's only club menu was about him. So what

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Speaker 1: I heard was Phil shows up to the Daisy one

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Speaker 1: night wearing a jacket with some karate um Lamont and

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Speaker 1: he raised his hell drunken, batshit, disoriented l He had

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Speaker 1: become obsessed with karate. His obsessions were fleeting from what

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Speaker 1: I've been told. Maybe guns were the one exception to

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Speaker 1: that rule, but at this point in his life, karate

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Speaker 1: was his consuming hobby. I took up causes, Angela Davis,

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Speaker 1: John Sinclair Attica, and Phil took up karate. Maybe it

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Speaker 1: was the green Hornet, maybe it was the Pink Panther

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Speaker 1: and Peter Seller's Bruce Lee. When Bruce Lee died, Phil

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Speaker 1: was convinced that he was murdered by some death touch

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Speaker 1: whatever that is. Emil Focus had taught him. That taught

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Speaker 1: him about the death touch. Meal and another guy that

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Speaker 1: they just called Laslow where his bodyguards in the late sixties.

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Speaker 1: But they also both happened to be black belts. Phil

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Speaker 1: higher than partly for protection, but partly so we could

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Speaker 1: learn those moves. So he's at the day zy, no

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Speaker 1: doubt enjoying himself, but also no doubt stuing over the

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Speaker 1: fact that his goddamn name is in Grace in one

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Speaker 1: of the menu items. And this woman walks up to

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Speaker 1: him and starts talking to him, probably something like are

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Speaker 1: you Phil Specter the Titan of teen? And what does

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Speaker 1: Phil do? He lost it? Man, He didn't ask this

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Speaker 1: woman to talk to him. Now, dare she? You know?

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Speaker 1: That sort of thing. It was probably all misplaced frustraate

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Speaker 1: and aggression. Peoples have gone out from his karate jacket.

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Speaker 1: He just skips over the karate pot altogether. All this

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Speaker 1: training and obsessing in our being, all of it for

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Speaker 1: the dogs in this heated moment. His gun could do

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Speaker 1: the talking better than his karate shopping ever could he

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Speaker 1: pointed that gun to this poor woman who's just standing.

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Speaker 1: They're shaking in the middle of a high end private club.

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Speaker 1: She probably was just a big fan of you've lost

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Speaker 1: that love and feeling or something, and wanted a moment

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Speaker 1: with the man. But now this is the kind of

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Speaker 1: shif I'm talking about. He was becoming unwound as the

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Speaker 1: time went on by, and we're trying to get him.

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Speaker 1: The next year, in ninety three, we started recording what

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Speaker 1: would become the Rock and Roll Album, and that's when

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Speaker 1: things got really strange. One Sunday Phil called me and said,

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Speaker 1: we can't record today. The studios burnt down. I thought

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Speaker 1: only ship the studios on fire. That was the first

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Speaker 1: wasn't it not buying the show? But I was a iscious.

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Speaker 1: The whole thing was suspicious. He had been turning up

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Speaker 1: to sessions late. He was drunk, We were drunk, and

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Speaker 1: the phone call just struck me as an excuse, a

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Speaker 1: cop out. So I had someone call over Day and

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Speaker 1: M Studios, and a guy answered the phone with no urgency,

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Speaker 1: no flames crackling in the background. The studio wasn't on fire.

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Speaker 1: Phil just didn't want to work. Following Sunday, Phil calls

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Speaker 1: me and I say, what happened? We was supposed to

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Speaker 1: be doing a session and he whispers to me. I said,

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Speaker 1: what he said, the John Deane tapes, you know, the

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Speaker 1: Watergate tapes. He tells me his house is surrounded by helicopters,

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Speaker 1: and then trying to get him no buying, But he

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Speaker 1: didn't have the Watergate tapes. He was trying to tell

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Speaker 1: me that he had my tapes, the session tapes, everything

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Speaker 1: we had done up to that point. He would take

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Speaker 1: them home with him every night. Probably felt safe knowing

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Speaker 1: that when he put his head down on his pillow

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Speaker 1: at night, the tapes were protected inside a gated mansion

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Speaker 1: surrounded by guns and his muscle men. By keeping those

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Speaker 1: tapes close, he was keeping the secret. We had to

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Speaker 1: sue him through capital to eventually get the tapes back,

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Speaker 1: and I finished the album without him. And then he

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Speaker 1: got into that car crash on Melrose head on collision

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Speaker 1: in his Rolls Royce. We went right through the fucking

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Speaker 1: front windshield. The whole accident allowed him to re emerge

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Speaker 1: as another person. You see, he looked different, he sounded different,

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Speaker 1: he acted different, like Dylan and that motorcycle crash. But

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Speaker 1: the new Field Field that lived to tell the tale

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Speaker 1: about that crash was not the idealized version of Field

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Speaker 1: that we had created in IDs. You know, there's a

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Speaker 1: reason that they say don't meet your idols. At the

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Speaker 1: end of the day, Phil Spector was not the person

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Speaker 1: I thought he was. The last time I talked to him,

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Speaker 1: he was whispering on the they're into the phone about

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Speaker 1: conspiracies and secrets and it was all just a calculated

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Speaker 1: chaun to keep me squarely in the dark. Hollywood A

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Speaker 1: and M Studios. John Lennon was tired, worn down by excess,

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Speaker 1: perverted by vice, winded from out running scandal, his sojourn

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Speaker 1: into Los Angeles meant to be some sort of existential

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Speaker 1: palate cleanser had been an existential drag. He hoped that

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Speaker 1: today would be different. Today you could take the focus

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Speaker 1: off himself, off of those things you want it to

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00:22:00,280 --> 00:22:03,160
Speaker 1: the things he desired, and simply witnessed something that would

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Speaker 1: make him happy. Imagine that he was excited to meet

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Speaker 1: Darlene Love, perhaps even more excited to watch her sing

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Speaker 1: in the studio. He had been a fan of hers

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Speaker 1: ever sincerely sixties, when she sang lead on the Crystals.

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Speaker 1: He's a rebel, and he's sure the boy I love

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Speaker 1: back before he and the rest of the world even

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Speaker 1: knew who she was. John's love of American girl group

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Speaker 1: pop was evident by the songs that the Beatles covered

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Speaker 1: in their touring years and released on some of their

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Speaker 1: early records. And now he'd get to be a fly

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Speaker 1: on the wall and watched Darlene reunite with Phil Specter,

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Speaker 1: the producer who would put her heavenly voice to Wax

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Speaker 1: in the first place. John's time spent in Los Angeles

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Speaker 1: would come to be known as his Lost Weekend, but

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Speaker 1: it was far from the weekend. It lasted eighteen months,

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Speaker 1: and during that time he had an intense affair with

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Speaker 1: his assistant while strange from his wife. He got ejected

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Speaker 1: from the trooper door with Harry Nilson for heckling the

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Speaker 1: Smothers brothers. While wasted on Brandy Alexander's, he failed to

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Speaker 1: get Stevie, wondered to snort a line of blow while

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Speaker 1: jamming with Paul McCartney, and he stumbled through California nightlife

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Speaker 1: while desperately hanging on to a few functional brain cells.

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Speaker 1: His relationship with Phil Specter had initially resulted in some

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Speaker 1: of the most raw, stripped down records of any ex Beatle,

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Speaker 1: but Phil's instability was making things difficult. John was skeptical

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Speaker 1: if they would ever make it through the Rock and

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Speaker 1: Roll sessions alive. Darlene Love walked into A and M studio,

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Speaker 1: skeptical of the whole situation, skeptical mostly of Phil. This

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Speaker 1: wasn't her first rodeo. She'd been produced by Phil before,

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Speaker 1: ordered around by Phil, before, obscured by Phil, before humiliated

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Speaker 1: by Phil. Before. In fact, Phil had just bought her

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Speaker 1: contract from Kenny Gamble and Leon Huff. She had only

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Speaker 1: been with the Philly producers for a few months she

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Speaker 1: had dreamed of escaping from under phil shadow, and now

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Speaker 1: she felt that dark cloud hoverback over her head. She

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Speaker 1: was seven months pregnant and thought twice about taking the

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Speaker 1: gig when she the call. But Phil's assist in, Sandy

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Speaker 1: was a nice girl and made Darlene feel like royalty

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Speaker 1: before she even walked into A and M Studios. She'd

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Speaker 1: do it, she'd give it a shot. She smiled when

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Speaker 1: she walked through the studio door and saw share and

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Speaker 1: there was John Lennon. John Lennon a beatle there in

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Speaker 1: the flesh, there for no other reason than to watch

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Speaker 1: her do her thing. But this time around, Phil seemed

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Speaker 1: worse than before. Phil had his back turned to Darlene.

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Speaker 1: He didn't turn around to face her when he spoke.

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Speaker 1: He instructed the engineer to start a playback, and the

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Speaker 1: song Lord if You're a Woman started coming through the speakers.

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Speaker 1: Darlene sang a line. Phil stopped her halfway through, told

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Speaker 1: her to sing it again, but she started to sing

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Speaker 1: the line again, this time the way Phil asked me to.

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Speaker 1: She got through the take only to see Phil shaking

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Speaker 1: his head. He didn't like it. She needed to try again,

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Speaker 1: so she did it again and again. She would barely

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00:25:02,000 --> 00:25:03,920
Speaker 1: make it through a line, and he would stop playback

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00:25:03,960 --> 00:25:07,520
Speaker 1: again and throughout the labored process of take after take,

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00:25:08,000 --> 00:25:10,639
Speaker 1: Phil eventually turned to face Darlene from where he stood

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Speaker 1: safely behind the production booths glass. He cut playback again,

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Speaker 1: and Darlene read Phil's lips as he spoke to the

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Speaker 1: others in the booth, watch me make her do it again.

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Speaker 1: Guests and the booth laughed. John Lennon was laughing. It

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Speaker 1: was a game to them, a joke to them. She

408
00:25:27,560 --> 00:25:31,760
Speaker 1: was their joke. And for Darlene Love, those memories came

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00:25:31,840 --> 00:25:35,080
Speaker 1: flooding back, the memories of the early sixties, the crystals,

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Speaker 1: Bobby socks, and the blue jeans. She wasn't gonna be

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Speaker 1: anyone's joke anymore, not John Lennon's and certainly not Phil Specter's.

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Speaker 1: She took her headphones off, put her coat on, told

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Speaker 1: Phil Specter to go to hell. Phil watched as Darlene

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Speaker 1: walked out the door, and he remained safely inside the

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00:25:53,040 --> 00:25:58,359
Speaker 1: production booth. He was keeping the secrets close, keeping everything close,

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Speaker 1: friends and these people in between. He didn't want anyone

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Speaker 1: getting a good look the blood on the tracks. This

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Speaker 1: episode of Blood on the Tracks is brought to you

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00:26:20,320 --> 00:26:23,240
Speaker 1: by twenty seven Club, a podcast that I host on

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00:26:23,359 --> 00:26:26,480
Speaker 1: musicians who died at the age of seven. Season two,

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00:26:26,520 --> 00:26:29,360
Speaker 1: featuring Jim Morrison, is now available, as is season one

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00:26:29,440 --> 00:26:32,879
Speaker 1: with twelve episodes featuring Jimmy Hendrix. Subscribe to the twenty

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00:26:32,920 --> 00:26:36,080
Speaker 1: seven Club on Apple podcast, I Heeart Radio app or

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00:26:36,119 --> 00:26:39,320
Speaker 1: wherever you get your podcast, and of course, this episode

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00:26:39,359 --> 00:26:42,000
Speaker 1: was also brought to you by Disgrace Land, the award

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Speaker 1: winning music and true crime podcast also hosted by Yours Truly.

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Speaker 1: Grateful Dead, j C. Prince and many many more are

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Speaker 1: all waiting for you right now. Just search Disgrace Land

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Speaker 1: you get your podcast all right. This episode of Blood

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Speaker 1: on the Tracks was written by Zeth Lundi and scored

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Speaker 1: in mixed by Matt Bode, posted by me Jake Brennan.

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Speaker 1: Additional music and score elements by Ryan Spreaker and Henry Lunette.

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Speaker 1: This episode featured Scott Jano bit says John Lennon. Blood

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Speaker 1: on the Tracks is produced by myself for Double Elvis

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Speaker 1: and partnership with I heart Rate. Sources for this episode

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Speaker 1: are available at double Elvis dot com on the Blood

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Speaker 1: on the Tracks series page and if you like it

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Speaker 1: you here. Please be sure to subscribe the Blood on

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Speaker 1: on social media. Leave your review there. We'll pick two

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Speaker 1: winners each week and announced them on the Double Elvis

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Speaker 1: down to follow alright. As always, you can find me

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Speaker 1: blabbing about other crazy rock stars on Disgrace Land and

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Speaker 1: R Day Dad