1 00:00:01,760 --> 00:00:04,800 Speaker 1: Hey, discos, need a little more Disgraceland in your life, 2 00:00:05,160 --> 00:00:08,039 Speaker 1: just to touch, to get you through. Yeah, me too. 3 00:00:08,760 --> 00:00:12,000 Speaker 1: This is the podcast that comes after the podcast. Welcome 4 00:00:12,000 --> 00:00:31,040 Speaker 1: to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode, 5 00:00:31,120 --> 00:00:33,479 Speaker 1: a little thing we like to call the after party. 6 00:00:33,680 --> 00:00:35,680 Speaker 1: This is the show after the show, the party after 7 00:00:35,680 --> 00:00:37,199 Speaker 1: the party, the bridge to get you from one full 8 00:00:37,240 --> 00:00:40,160 Speaker 1: episode of Disgraceland to the other, the backyard, to dig 9 00:00:40,200 --> 00:00:42,920 Speaker 1: into the dirt, our mission to uncover the truth, to 10 00:00:42,960 --> 00:00:46,040 Speaker 1: confront the myth, to reclaim the story. On this bonus episode, 11 00:00:46,120 --> 00:00:49,680 Speaker 1: we're talking about this week's full episode subject, Brian Wilson. 12 00:00:49,960 --> 00:00:53,519 Speaker 1: We are rewinding back to our Oasis episodes, previewing our 13 00:00:53,560 --> 00:00:56,800 Speaker 1: upcoming episode on fifty cent. That's part two on fifty cent, 14 00:00:56,920 --> 00:00:59,560 Speaker 1: and we get into your voicemails, text, dms, and as 15 00:00:59,600 --> 00:01:02,280 Speaker 1: always a whole lot of rosie. This is the podcast 16 00:01:02,320 --> 00:01:04,800 Speaker 1: for the musically obsessed, the outsiders, the independent thinkers who 17 00:01:04,840 --> 00:01:07,479 Speaker 1: know that the best history is the history that gets buried. 18 00:01:07,560 --> 00:01:10,720 Speaker 1: Disgraceland is where I tell the stories they didn't want told, 19 00:01:10,760 --> 00:01:12,920 Speaker 1: the kind you'll end up telling someone else. All right, 20 00:01:12,959 --> 00:01:32,200 Speaker 1: disc goes, Let's get into it all right, disc goes 21 00:01:32,240 --> 00:01:35,319 Speaker 1: listen this week unexpectedly, We're having fun, fun, fun, until 22 00:01:35,440 --> 00:01:38,360 Speaker 1: Charlie takes the tea bird away in our unofficial Beach 23 00:01:38,400 --> 00:01:43,040 Speaker 1: Boys end of Summer Endless Bummer week here in Disgraceland, 24 00:01:43,040 --> 00:01:46,360 Speaker 1: with our brand new Brian Wilson episode, alongside parts one 25 00:01:46,400 --> 00:01:49,240 Speaker 1: and two of our Beach Boys rewound in the feed 26 00:01:49,280 --> 00:01:52,360 Speaker 1: to tee you up for the genius of Brian Wilson. 27 00:01:52,760 --> 00:01:56,520 Speaker 1: Part of Brian's story was, of course influenced by his 28 00:01:56,600 --> 00:01:59,800 Speaker 1: brother Dennis's brush with Charles Manson, and we touch on 29 00:02:00,240 --> 00:02:04,760 Speaker 1: that infamous Beach Boys studio session with Charles Manson and 30 00:02:04,920 --> 00:02:07,680 Speaker 1: two of the three episodes that we released this week. 31 00:02:07,840 --> 00:02:10,800 Speaker 1: The reason I'm talking about it here again is because 32 00:02:11,720 --> 00:02:15,040 Speaker 1: I found myself listening back to the mix from the 33 00:02:15,080 --> 00:02:20,360 Speaker 1: Brian Wilson episode and I mentioned something in that narrative 34 00:02:20,560 --> 00:02:25,320 Speaker 1: about how there's long been this story that the recording 35 00:02:25,400 --> 00:02:28,040 Speaker 1: session where the Beach Boys were trying to get Charles 36 00:02:28,080 --> 00:02:32,359 Speaker 1: Manson and his songs down on tape devolved into an orgy, 37 00:02:32,760 --> 00:02:36,200 Speaker 1: and that it was actually captured and recorded that event, 38 00:02:36,600 --> 00:02:40,680 Speaker 1: and then it looms large in the mythology of the 39 00:02:40,680 --> 00:02:44,359 Speaker 1: Beach Boys in the heads of Beach Boys, fans, etc. 40 00:02:45,400 --> 00:02:48,840 Speaker 1: And I thought there's something more there for me to 41 00:02:49,320 --> 00:02:51,360 Speaker 1: dig into and to try and figure out, and we, 42 00:02:51,400 --> 00:02:54,080 Speaker 1: of course, we go pretty deep into it, or into 43 00:02:54,080 --> 00:02:57,519 Speaker 1: the story, I should say, the broader story of Manson 44 00:02:57,840 --> 00:03:01,720 Speaker 1: and Dennis Wilson and how that affected Brian Wilson in 45 00:03:01,760 --> 00:03:03,840 Speaker 1: parts one and two of the Beach Boys episode and 46 00:03:03,919 --> 00:03:07,080 Speaker 1: in the Brian Wilson's episode in the Long and Short 47 00:03:07,080 --> 00:03:09,919 Speaker 1: of It is, Dennis was eager to get Charlie on tape, 48 00:03:10,320 --> 00:03:15,160 Speaker 1: and Charlie, along with his wild entourage of you know, 49 00:03:15,240 --> 00:03:19,720 Speaker 1: the girls and Manson girls, proved to be a wildly 50 00:03:20,000 --> 00:03:24,919 Speaker 1: unserious musician. In the session devolved, as I mentioned before, 51 00:03:24,919 --> 00:03:28,240 Speaker 1: into chaos, and, depending on who you believe, into an 52 00:03:28,320 --> 00:03:31,000 Speaker 1: orgy that may or may not have been captured on tape. 53 00:03:31,120 --> 00:03:33,800 Speaker 1: I don't really care about the orgy part of it, 54 00:03:33,919 --> 00:03:37,080 Speaker 1: aside from confirming whether or not it happened. I don't 55 00:03:37,120 --> 00:03:39,240 Speaker 1: really care to hear it. That's not what I'm interested in. 56 00:03:39,520 --> 00:03:42,160 Speaker 1: Who's up with who? That part doesn't matter to me. 57 00:03:43,000 --> 00:03:47,000 Speaker 1: What sticks and what fans like us I don't think 58 00:03:47,080 --> 00:03:51,080 Speaker 1: can shake is the mystery of those tapes. Did it 59 00:03:51,200 --> 00:03:53,880 Speaker 1: really happen. That's enough for me. Did Dennis Wilson really 60 00:03:53,920 --> 00:03:58,200 Speaker 1: capture Charles Manson and the Beach Boys together? Was Brian Wilson, 61 00:03:58,760 --> 00:04:01,880 Speaker 1: his brother, the genius, the torture genius, who has had 62 00:04:01,920 --> 00:04:03,440 Speaker 1: like one foot in the band at that time and 63 00:04:03,440 --> 00:04:06,560 Speaker 1: one foot out? Was he really involved in any way? 64 00:04:07,000 --> 00:04:08,880 Speaker 1: I've read accounts that he was. I've read account ctid 65 00:04:08,880 --> 00:04:11,160 Speaker 1: he wasn't. And the fact of whether or not these 66 00:04:11,200 --> 00:04:15,760 Speaker 1: tapes exist, it's fascinating to me. It's fascinating to think 67 00:04:15,760 --> 00:04:19,200 Speaker 1: about who who has claimed that they've heard them, Who's 68 00:04:19,200 --> 00:04:23,000 Speaker 1: made claims describing everything from sort of incoherent noise to 69 00:04:23,560 --> 00:04:27,440 Speaker 1: fully baked demos with the Beach Boys backing Charlie. Just 70 00:04:28,000 --> 00:04:31,200 Speaker 1: picture this like it breaks tomorrow and this song is 71 00:04:31,680 --> 00:04:35,159 Speaker 1: leaked from the Beach Boys archive, and it's literally the 72 00:04:35,200 --> 00:04:41,280 Speaker 1: Beach Boys music with Charles Manson singing over it in 73 00:04:41,320 --> 00:04:45,360 Speaker 1: a fully baked demo, as has been claimed. That would 74 00:04:45,400 --> 00:04:50,520 Speaker 1: blow my mind. That to me is very interesting. Whatever 75 00:04:50,560 --> 00:04:52,840 Speaker 1: the truth of it is, it's all this is just 76 00:04:52,920 --> 00:04:56,719 Speaker 1: another reminder of how close the light and the darkness 77 00:04:57,080 --> 00:05:00,120 Speaker 1: can live inside the same room here in music history, 78 00:05:00,600 --> 00:05:04,200 Speaker 1: and in this case, perhaps on the same reel of tape, 79 00:05:04,279 --> 00:05:08,320 Speaker 1: and it all got me thinking about other long whispered 80 00:05:08,480 --> 00:05:11,719 Speaker 1: recording sessions that may or may not have happened, recording 81 00:05:11,760 --> 00:05:15,719 Speaker 1: mysteries that live somewhere between myth and memory, long rumored 82 00:05:15,760 --> 00:05:18,640 Speaker 1: tapes that may or may not exist, but if they do, 83 00:05:19,160 --> 00:05:22,160 Speaker 1: they hold revelations that could change how we see our 84 00:05:22,240 --> 00:05:25,479 Speaker 1: favorite artists. So I did a little research this morning 85 00:05:25,520 --> 00:05:27,520 Speaker 1: before jumping on the mic with you guys, and I 86 00:05:27,560 --> 00:05:29,880 Speaker 1: came up with a short list counting down here from 87 00:05:30,640 --> 00:05:37,480 Speaker 1: least interesting to most fascinating. A list of five mysterious 88 00:05:37,680 --> 00:05:40,320 Speaker 1: recording sessions that may or may not have happened, but 89 00:05:40,400 --> 00:05:43,599 Speaker 1: at least are worth talking about. And I want to 90 00:05:43,600 --> 00:05:45,599 Speaker 1: know if there's more here. I know there's more. I 91 00:05:45,680 --> 00:05:47,360 Speaker 1: absolutely know there's more. I know you guys are gonna 92 00:05:47,360 --> 00:05:49,080 Speaker 1: hear this list. You're gonna be like, oh, you forgot 93 00:05:49,080 --> 00:05:51,040 Speaker 1: that one. You forget So hit me up. Six point 94 00:05:51,080 --> 00:05:53,599 Speaker 1: seven nine oh six six six three eight. Let me 95 00:05:53,680 --> 00:05:56,560 Speaker 1: know of any sort of uh, you know, music history 96 00:05:56,600 --> 00:06:00,120 Speaker 1: recording sessions from the lore of music history's past, and 97 00:06:00,120 --> 00:06:02,280 Speaker 1: what I may have missed here Number five. Okay, starting 98 00:06:02,320 --> 00:06:04,880 Speaker 1: at number five, Like I said, I'm starting in reverse order. 99 00:06:04,960 --> 00:06:07,240 Speaker 1: Going with what I think is the least interesting to 100 00:06:07,279 --> 00:06:11,560 Speaker 1: the most interesting. Number five Stevie Wonder's lost political protest 101 00:06:11,600 --> 00:06:16,279 Speaker 1: album for the early nineteen seventies. Now between Stevie's albums 102 00:06:16,360 --> 00:06:20,719 Speaker 1: Talking Book and Innervisions, Stevie reportedly made an entire record 103 00:06:21,000 --> 00:06:25,400 Speaker 1: of just fiery protest songs and Motown didn't want to 104 00:06:25,400 --> 00:06:29,520 Speaker 1: release it. They didn't want to backlash the political backlash, 105 00:06:29,560 --> 00:06:32,839 Speaker 1: which is just a complete mistake in my opinion. I 106 00:06:32,839 --> 00:06:35,440 Speaker 1: think this record it's Stevie Wonder, so it's not like 107 00:06:35,480 --> 00:06:39,280 Speaker 1: it's Stevie Wonder at that time. Was I used the 108 00:06:39,279 --> 00:06:42,680 Speaker 1: word fiery. He was on fire creatively. I can't imagine 109 00:06:42,760 --> 00:06:45,000 Speaker 1: that what was put down on tape is bad in 110 00:06:45,040 --> 00:06:48,320 Speaker 1: any sense. And Stevie had sort of a great meter, 111 00:06:48,520 --> 00:06:52,240 Speaker 1: a great insight into the conscience of America at the time, 112 00:06:52,600 --> 00:06:54,760 Speaker 1: and I think this record would have been a smash 113 00:06:54,800 --> 00:06:58,520 Speaker 1: and I would love, love, love to hear it. Obviously, 114 00:06:58,560 --> 00:07:01,880 Speaker 1: Motown there was a bunch of attention about releasing the 115 00:07:01,920 --> 00:07:04,560 Speaker 1: political songs from Marvin Gay back in the day, and 116 00:07:04,600 --> 00:07:08,800 Speaker 1: they lost that battle. However, they lost here too, because 117 00:07:08,880 --> 00:07:12,600 Speaker 1: this is ultimately Motown's loss for not releasing this Stevie 118 00:07:12,640 --> 00:07:15,480 Speaker 1: said about this record that we've never heard in nineteen 119 00:07:15,640 --> 00:07:18,880 Speaker 1: eighty in an interview with Rolling Stone. I recorded songs 120 00:07:18,880 --> 00:07:21,480 Speaker 1: that were too strong for Motown at the time, songs 121 00:07:21,480 --> 00:07:24,600 Speaker 1: that dealt with politics, Vietnam, Nixon. I knew they weren't 122 00:07:24,600 --> 00:07:26,480 Speaker 1: going to put them out, so I just kept on writing, 123 00:07:26,640 --> 00:07:29,560 Speaker 1: and Inner Visions was the compromise. I have this one 124 00:07:29,560 --> 00:07:31,720 Speaker 1: at number five, but honestly it could be could be 125 00:07:31,800 --> 00:07:35,080 Speaker 1: higher anyhow. That's the long lost Steven Wonder record number 126 00:07:35,080 --> 00:07:40,320 Speaker 1: four Beatles Carnival of Light from nineteen sixty seven. It 127 00:07:40,360 --> 00:07:43,720 Speaker 1: surprised me that I've never heard of this. Maybe I 128 00:07:44,560 --> 00:07:47,720 Speaker 1: read about it at one point and I was researching 129 00:07:47,760 --> 00:07:49,600 Speaker 1: something else and it didn't fit into what I was 130 00:07:49,640 --> 00:07:52,800 Speaker 1: looking for, so I overlooked it. But this is really 131 00:07:52,800 --> 00:07:55,160 Speaker 1: compelling to me. I'm surprised I've never heard of this. 132 00:07:55,280 --> 00:07:59,240 Speaker 1: It's not a record. It's a fourteen minute quote unquote 133 00:07:59,280 --> 00:08:04,000 Speaker 1: experimental sound collage that was recorded during the Sergeant Pepper sessions. 134 00:08:04,000 --> 00:08:06,400 Speaker 1: I'm probably not preaching anything new here to Beatles' heads, 135 00:08:06,440 --> 00:08:08,840 Speaker 1: who are all over this type of thing. Paul McCartney 136 00:08:08,840 --> 00:08:12,040 Speaker 1: has confirmed that this exists, but no one's heard it. 137 00:08:12,040 --> 00:08:16,040 Speaker 1: It's never been released, and apparently it's just too much 138 00:08:16,040 --> 00:08:19,000 Speaker 1: of a sloppy, drugged out mess, and George Harrison vetoed 139 00:08:19,040 --> 00:08:22,280 Speaker 1: Paul including it in the anthology back in nineteen ninety 140 00:08:22,320 --> 00:08:25,800 Speaker 1: six when the anthology was released. This feels like it's 141 00:08:25,800 --> 00:08:27,960 Speaker 1: gonna come out at some point, and I should have 142 00:08:28,040 --> 00:08:31,920 Speaker 1: checked this this morning. I know they're reissuing the anthology. 143 00:08:32,160 --> 00:08:34,840 Speaker 1: Maybe this is part of it. It seems to me 144 00:08:35,000 --> 00:08:38,000 Speaker 1: like something that is not at all controversial, and even 145 00:08:38,000 --> 00:08:40,679 Speaker 1: if it's a mess, Beatles fans will eat it up. 146 00:08:40,800 --> 00:08:43,000 Speaker 1: Paul said about this in two thousand and eight. It's 147 00:08:43,080 --> 00:08:45,920 Speaker 1: very avant garde. It's not a song. It's purely a 148 00:08:46,000 --> 00:08:48,760 Speaker 1: kind of instrumental piece. I always wanted to put it out, 149 00:08:48,800 --> 00:08:51,320 Speaker 1: but it's been vetoed. It does exist. The guys in 150 00:08:51,400 --> 00:08:53,520 Speaker 1: charge of the Beatles stuff don't want it out. It's 151 00:08:53,520 --> 00:08:55,920 Speaker 1: certainly no great piece of music by any means, but 152 00:08:56,000 --> 00:08:59,160 Speaker 1: it's the Beatles playing freely and unself consciously, and I 153 00:08:59,200 --> 00:09:02,120 Speaker 1: would love to hear hear that, Paul, And I guess 154 00:09:02,840 --> 00:09:06,960 Speaker 1: Danny Harrison or whoever controls George's vote on the Beatles Board, 155 00:09:07,040 --> 00:09:09,880 Speaker 1: or however this stuff is decided let's get that out there. 156 00:09:09,920 --> 00:09:12,920 Speaker 1: This could be a great thing to listen to. Number 157 00:09:12,960 --> 00:09:17,080 Speaker 1: three the infamous Elvis Presley Hotel Room tapes from the 158 00:09:17,120 --> 00:09:23,360 Speaker 1: mid nineteen seventies. There are rumored reels of Elvis supposedly 159 00:09:23,440 --> 00:09:26,520 Speaker 1: jamming late at night with his entourage in Las Vegas 160 00:09:26,640 --> 00:09:32,000 Speaker 1: in the hotel room or hotel suite, raw, unfiltered. You know, 161 00:09:32,040 --> 00:09:34,400 Speaker 1: I picture like a drunken version of the sixty eight 162 00:09:34,440 --> 00:09:38,959 Speaker 1: Comeback Here. Just Supposedly, these recordings are laced with Elvis 163 00:09:39,000 --> 00:09:42,040 Speaker 1: going in and out of gospel tunes, tell telling jokes, 164 00:09:42,040 --> 00:09:47,160 Speaker 1: sometimes dirty jokes. There's been whispers about drug use that's 165 00:09:47,200 --> 00:09:53,600 Speaker 1: on these tapes. Who knows. RCA, who controls the Elvis catalog, 166 00:09:53,720 --> 00:09:58,240 Speaker 1: has denied that these tapes exist. But this, to me, 167 00:09:58,800 --> 00:10:01,640 Speaker 1: having seen and read, I didn't taking in enough Elvis 168 00:10:01,840 --> 00:10:04,800 Speaker 1: research in my life. This seems this is just seems 169 00:10:04,840 --> 00:10:08,160 Speaker 1: strikes me as too too true. Like it absolutely, I've 170 00:10:08,160 --> 00:10:11,520 Speaker 1: seen footage of Elvis with his boys hanging out talking 171 00:10:12,440 --> 00:10:15,280 Speaker 1: and it's, uh, this is kind of the vibe. I mean, 172 00:10:15,360 --> 00:10:17,640 Speaker 1: I've never seen them doing pain you know, taking painkillers 173 00:10:17,679 --> 00:10:19,079 Speaker 1: and doing drugs or any of that stuff. But he's 174 00:10:19,200 --> 00:10:21,719 Speaker 1: joking all the time, and just like music is a 175 00:10:22,040 --> 00:10:24,480 Speaker 1: big part of the social interaction, going in and out 176 00:10:24,480 --> 00:10:26,720 Speaker 1: of songs with an acoustic guitar, whoever's got one lying 177 00:10:26,760 --> 00:10:29,200 Speaker 1: around this does not seem out of the bounds reality 178 00:10:29,240 --> 00:10:31,400 Speaker 1: at all. It seems to me like maybe they're you know, 179 00:10:31,400 --> 00:10:34,760 Speaker 1: there's just all this sort of like protectionism around Elvis 180 00:10:34,800 --> 00:10:36,720 Speaker 1: Presley and trying to pretend that he was just this 181 00:10:36,880 --> 00:10:41,720 Speaker 1: like squeaky clean dude and any hint at anything untoward 182 00:10:41,880 --> 00:10:45,280 Speaker 1: or anything outside the bounds of I don't know, like 183 00:10:45,480 --> 00:10:50,559 Speaker 1: nineteen fifties American mainstream culture is like they can't have it, 184 00:10:50,600 --> 00:10:52,559 Speaker 1: which is as bullshit to me, Like we all know 185 00:10:52,600 --> 00:10:54,400 Speaker 1: who Elvis was, We all know what he was doing. 186 00:10:54,440 --> 00:10:56,720 Speaker 1: Everyone then knew what he was doing. It's time to 187 00:10:56,760 --> 00:10:59,880 Speaker 1: loosen the reins and you know, Elvis, yeah dirty jokes, 188 00:11:00,080 --> 00:11:02,400 Speaker 1: Like what are we talking about here? Like how dirty 189 00:11:02,440 --> 00:11:05,560 Speaker 1: could they be? You know what I'm saying. If anything, 190 00:11:05,640 --> 00:11:08,720 Speaker 1: these jokes will probably in dear younger people who aren't 191 00:11:08,720 --> 00:11:11,719 Speaker 1: listeners of Elvis Presley to Elvis Presley show a more 192 00:11:11,800 --> 00:11:16,280 Speaker 1: human side of him, less idolized, less of idolatry here, 193 00:11:16,320 --> 00:11:19,640 Speaker 1: and more humanism I think would help the Elvis estate, 194 00:11:19,679 --> 00:11:21,800 Speaker 1: but you know, no one asked me for my opinion. 195 00:11:22,240 --> 00:11:26,880 Speaker 1: The status here is RCA denies these exists. Graceland the estate, 196 00:11:27,640 --> 00:11:30,480 Speaker 1: maintains the fact that these tapes don't exist and has 197 00:11:30,559 --> 00:11:34,960 Speaker 1: denied anyone seeking permission to search through the vaults wherever 198 00:11:35,040 --> 00:11:35,920 Speaker 1: or whatever those are. 199 00:11:36,480 --> 00:11:38,160 Speaker 2: Yeah, and I don't. 200 00:11:37,960 --> 00:11:39,559 Speaker 1: Know, man, I just this is one of those things 201 00:11:39,600 --> 00:11:42,920 Speaker 1: that I just totally think exists. And you know, there's 202 00:11:42,960 --> 00:11:45,480 Speaker 1: been friends, people from the Memphis Mafia, et cetera. This 203 00:11:45,520 --> 00:11:47,880 Speaker 1: is one quote from Elvis's friend Marty Lacker, who said 204 00:11:47,880 --> 00:11:52,640 Speaker 1: Elvis taped everything, house, jams, rehearsals, but he would never 205 00:11:53,040 --> 00:11:55,320 Speaker 1: want that kind of rough stuff out there. He cared 206 00:11:55,320 --> 00:11:57,560 Speaker 1: too much about how he sounded. And I get that, 207 00:11:57,640 --> 00:11:59,439 Speaker 1: and I believe that, and I totally think that's what's 208 00:11:59,480 --> 00:12:02,160 Speaker 1: going on. Elvis, of course, was from a generation prior 209 00:12:02,200 --> 00:12:04,600 Speaker 1: to this one where we did not just you know, 210 00:12:04,840 --> 00:12:07,600 Speaker 1: sit down in front of a microphone on a Wednesday morning, 211 00:12:07,640 --> 00:12:10,000 Speaker 1: sick as a dog like I am now and talking 212 00:12:10,080 --> 00:12:12,240 Speaker 1: to it and put it out into the world. Everything 213 00:12:12,320 --> 00:12:15,560 Speaker 1: was refined, Everything was meant to be perfect, to present 214 00:12:15,640 --> 00:12:19,520 Speaker 1: the perfect picture of who you were creatively. It's not 215 00:12:19,720 --> 00:12:22,160 Speaker 1: so much like that anymore. And that's why I think 216 00:12:22,160 --> 00:12:25,120 Speaker 1: these tapes would actually really have an impact now and 217 00:12:25,200 --> 00:12:28,120 Speaker 1: really I don't know, Like I said, just humanize Elvis. 218 00:12:28,160 --> 00:12:32,640 Speaker 1: So number two, we're going back to the Beatles sort of, John, 219 00:12:33,120 --> 00:12:38,800 Speaker 1: Paul Ringo, No George, Stevie Wonder supposedly, and this is 220 00:12:38,840 --> 00:12:42,040 Speaker 1: the story, this is the story that I heard supposedly 221 00:12:42,640 --> 00:12:46,560 Speaker 1: during the time of the Lost Weekend era, John Lennon. 222 00:12:47,520 --> 00:12:49,880 Speaker 1: John was out in La jamming with a bunch of folks. 223 00:12:50,520 --> 00:12:53,000 Speaker 1: This is when he's hanging out with Harry Nelson, making 224 00:12:53,080 --> 00:12:55,800 Speaker 1: music for Phil Spector, with Phil Spector, I should say, 225 00:12:56,360 --> 00:12:59,400 Speaker 1: hanging out with Alice Cooper, the whole Hollywood vampire scene. 226 00:12:59,480 --> 00:13:01,600 Speaker 1: All of that. Paul McCartney comes out to pay a 227 00:13:01,640 --> 00:13:06,079 Speaker 1: visit to John somehow after a long night of imbibing Paul, 228 00:13:06,400 --> 00:13:09,440 Speaker 1: John Ringo, who was around this whole scene during the 229 00:13:09,480 --> 00:13:12,480 Speaker 1: time as well. So Ringo's there, the three of them. Hey, well, 230 00:13:12,520 --> 00:13:14,080 Speaker 1: all of a sudden, it's the seventies and we've got 231 00:13:14,080 --> 00:13:16,680 Speaker 1: a Beatles reunion here. Where's George. Well, they don't get George, 232 00:13:16,880 --> 00:13:19,160 Speaker 1: they get Stevie Wonder and they go in and they 233 00:13:19,480 --> 00:13:22,880 Speaker 1: and they record, or they play I should say they jam, 234 00:13:22,880 --> 00:13:24,880 Speaker 1: and who knows that they recorded or not. I've heard 235 00:13:25,080 --> 00:13:27,920 Speaker 1: various depictions of this. Some say that there is a recording, 236 00:13:27,960 --> 00:13:32,600 Speaker 1: some say that there isn't, but crap man, John, Paul, 237 00:13:33,160 --> 00:13:36,840 Speaker 1: Ringo and Stevie Wonder playing. That's just incredible. I heard 238 00:13:36,880 --> 00:13:40,320 Speaker 1: Stevie was actually playing drums and Ringo with no lie 239 00:13:40,440 --> 00:13:42,600 Speaker 1: and that Ringo is just kind of watching, and that 240 00:13:42,640 --> 00:13:44,280 Speaker 1: they're all coked out of their mind. That's how the 241 00:13:44,320 --> 00:13:46,720 Speaker 1: story goes. I can't confirm or deny that, but that's 242 00:13:46,720 --> 00:13:49,080 Speaker 1: the story that I've heard. Stevie has joked about this, 243 00:13:49,240 --> 00:13:52,800 Speaker 1: saying that the session took place, doesn't allude to or 244 00:13:52,840 --> 00:13:55,240 Speaker 1: doesn't confirm whether or not they recorded anything, but he 245 00:13:55,320 --> 00:13:58,040 Speaker 1: Stevie called it a mess, said that it was it 246 00:13:58,080 --> 00:14:01,839 Speaker 1: was all heart, not much meat music unquote. But man, 247 00:14:01,920 --> 00:14:07,040 Speaker 1: imagine hearing that what would probably be I'm guessing I 248 00:14:07,080 --> 00:14:09,880 Speaker 1: was just about to say the last recording of John 249 00:14:09,920 --> 00:14:13,640 Speaker 1: and Paul together. But there are rumors. I don't have 250 00:14:13,679 --> 00:14:16,160 Speaker 1: the facts here. I know there's a story about Paul 251 00:14:16,280 --> 00:14:20,520 Speaker 1: visiting John and them playing in like nineteen seventy nine, 252 00:14:20,560 --> 00:14:22,840 Speaker 1: I believe closer to his death in nineteen eighty. I 253 00:14:22,840 --> 00:14:25,320 Speaker 1: look that one up for the next time we talk Beatles. 254 00:14:25,680 --> 00:14:28,480 Speaker 1: So that's number two, and number one is, of course 255 00:14:28,640 --> 00:14:33,200 Speaker 1: the Beach Boys Charles Manson so called sex tapes, org tapes, 256 00:14:33,200 --> 00:14:34,400 Speaker 1: whatever you want to call them. And again, I don't 257 00:14:34,400 --> 00:14:36,200 Speaker 1: care about the sex part of it so much as 258 00:14:36,200 --> 00:14:40,640 Speaker 1: I care about whether or not this session actually gave 259 00:14:40,760 --> 00:14:46,480 Speaker 1: any real fruit. Okay, whether it gave us any real recordings. 260 00:14:46,880 --> 00:14:50,760 Speaker 1: This session supposedly took place in nineteen sixty eight. Now, 261 00:14:50,800 --> 00:14:53,320 Speaker 1: this is a time, as you've learned from these Beach 262 00:14:53,320 --> 00:14:55,680 Speaker 1: Boys episodes that we just dropped in the feed, this 263 00:14:55,760 --> 00:14:58,000 Speaker 1: is a time when the Beach Boys were kind of 264 00:14:58,040 --> 00:15:02,920 Speaker 1: at the height of their coolness and they're searching around 265 00:15:03,040 --> 00:15:06,640 Speaker 1: for a way to be relevant. And Dennis discovers this guy, 266 00:15:06,760 --> 00:15:09,640 Speaker 1: Charlie Manson, and he really thinks he's onto something. And Dennis, 267 00:15:10,680 --> 00:15:12,480 Speaker 1: you know, you guys probably know this. Dennis wasn't the 268 00:15:12,480 --> 00:15:14,320 Speaker 1: only one. Neil Young thought this. A lot of people 269 00:15:14,320 --> 00:15:17,080 Speaker 1: thought this. But anyways, this is nineteen sixty eight, and 270 00:15:17,560 --> 00:15:20,520 Speaker 1: Dennis gets Charlie in the studio. It's his fine, he's 271 00:15:20,520 --> 00:15:22,760 Speaker 1: there to show his brothers what he's bringing to the 272 00:15:22,800 --> 00:15:26,560 Speaker 1: table creatively. They get into brother's studio that's the studio 273 00:15:26,600 --> 00:15:30,280 Speaker 1: they own, and they start cutting with Charlie and things 274 00:15:30,320 --> 00:15:32,800 Speaker 1: go sideways, and they go sideways quick, because, as I said, 275 00:15:32,880 --> 00:15:37,800 Speaker 1: Charlie was a fundamentally unseerious musician. I wouldn't even use 276 00:15:37,880 --> 00:15:42,800 Speaker 1: the term musician to describe him. It just denigrates the 277 00:15:42,920 --> 00:15:46,640 Speaker 1: term and the actual musicians, which is meant to say 278 00:15:46,640 --> 00:15:49,840 Speaker 1: that Charlie didn't create anything significant. He did, and he 279 00:15:49,880 --> 00:15:52,120 Speaker 1: had a lot of influence on people. That's another story. 280 00:15:52,120 --> 00:15:54,320 Speaker 1: I'm not gonna go down that road. But there's so 281 00:15:54,560 --> 00:15:58,000 Speaker 1: much here to dig into. Okay, there's way more than 282 00:15:58,040 --> 00:16:00,720 Speaker 1: I thought. And my instincts were right when I when 283 00:16:00,720 --> 00:16:03,320 Speaker 1: my spidy senses went up when I was re listening 284 00:16:03,360 --> 00:16:06,680 Speaker 1: to this mix this week and I heard myself mention 285 00:16:07,400 --> 00:16:11,320 Speaker 1: these infamous sessions, and it struck me as just pure 286 00:16:11,520 --> 00:16:15,960 Speaker 1: chasm content or anti chasm content, I should say, content 287 00:16:16,040 --> 00:16:19,280 Speaker 1: that no one wants out there for various reasons. And 288 00:16:19,320 --> 00:16:22,800 Speaker 1: there's a ton to dig in here, and especially the 289 00:16:22,800 --> 00:16:25,960 Speaker 1: big questions like who's actually heard these tapes, what's really 290 00:16:26,000 --> 00:16:28,360 Speaker 1: on them? That's what I'm gonna get into in the 291 00:16:28,480 --> 00:16:31,480 Speaker 1: exclusive research and development section of this after Party. To 292 00:16:31,520 --> 00:16:33,120 Speaker 1: hear it though, You've got to be a Disgraceland All 293 00:16:33,160 --> 00:16:35,800 Speaker 1: Access member. It's easy, it's five bucks. Go to disgrace 294 00:16:35,840 --> 00:16:39,400 Speaker 1: landpod dot com, slash membership and sign up on Patreon 295 00:16:39,520 --> 00:16:44,040 Speaker 1: or through Apple Podcasts. And I'm gonna drink some tea. Guys, 296 00:16:44,120 --> 00:16:46,760 Speaker 1: I'm gonna get myself ready. I'm gonna come in here 297 00:16:46,760 --> 00:16:49,960 Speaker 1: for the c block, hopefully with less congestion, and we're 298 00:16:50,000 --> 00:16:52,520 Speaker 1: gonna dive into your voicemails, text, DMS emails and more 299 00:16:52,600 --> 00:17:18,399 Speaker 1: right after this. All right, welcome back to the after Party. 300 00:17:18,400 --> 00:17:20,320 Speaker 1: Happy to have you guys here. As you know Brian 301 00:17:20,320 --> 00:17:23,719 Speaker 1: Wilson is this week's full episode of Disgraceland, which, if 302 00:17:23,760 --> 00:17:25,440 Speaker 1: you have not heard it, I don't know what you're doing. 303 00:17:25,560 --> 00:17:28,439 Speaker 1: Go check that out. We've got coming up here in 304 00:17:28,480 --> 00:17:31,280 Speaker 1: our rewind slots right after this after party episode, our 305 00:17:31,320 --> 00:17:35,879 Speaker 1: two part story on Oasis. You might have heard. Oasis 306 00:17:35,960 --> 00:17:38,360 Speaker 1: is lighting up the world right now with their reunion tour. 307 00:17:38,400 --> 00:17:40,719 Speaker 1: They've been in the States, they've been crushing it, and 308 00:17:40,760 --> 00:17:43,360 Speaker 1: we thought, hey, what a perfect time to dip into 309 00:17:43,400 --> 00:17:46,439 Speaker 1: the brothers Gallagher love these episodes. You're gonna love them too. 310 00:17:46,440 --> 00:17:48,160 Speaker 1: If you haven't heard them. They're coming up right after 311 00:17:48,200 --> 00:17:51,920 Speaker 1: this after party. Finally, next week, the next new episode, 312 00:17:51,920 --> 00:17:56,840 Speaker 1: we're dropping into the feed fifty cent Part two fifty Cent. 313 00:17:56,920 --> 00:18:01,080 Speaker 1: This story is massive. There is obviously so much to 314 00:18:01,160 --> 00:18:04,160 Speaker 1: his background, his origin story. That's really what the first 315 00:18:04,160 --> 00:18:07,439 Speaker 1: fifty cent episode was all about, his come up, where 316 00:18:07,480 --> 00:18:10,960 Speaker 1: he came from. It's so riddled with great true crime. 317 00:18:11,400 --> 00:18:13,760 Speaker 1: I couldn't leave that stuff sitting in the research. I 318 00:18:13,800 --> 00:18:16,240 Speaker 1: had to bring it to you, and as a result, 319 00:18:16,320 --> 00:18:18,920 Speaker 1: I barely got into the shooting of I mean, I 320 00:18:18,960 --> 00:18:20,720 Speaker 1: did get into the shooting of fifty cent, but there's 321 00:18:20,760 --> 00:18:23,399 Speaker 1: so much more to the story of who did that, 322 00:18:23,840 --> 00:18:26,840 Speaker 1: how that came, about why it happened, And we're really 323 00:18:26,880 --> 00:18:29,040 Speaker 1: digging into that in part two of the fifty cent story, 324 00:18:29,240 --> 00:18:32,360 Speaker 1: coming your way on Tuesday. And you know, fifty cent 325 00:18:32,480 --> 00:18:35,600 Speaker 1: is a fascinating character to me. He just seems, I 326 00:18:35,640 --> 00:18:38,399 Speaker 1: don't know, he's he's an enigma in one way, but 327 00:18:38,440 --> 00:18:40,399 Speaker 1: in the other in another way, he never shuts up. 328 00:18:40,440 --> 00:18:44,399 Speaker 1: He's constantly talking, he's constantly starting shit. He's really fascinating 329 00:18:44,400 --> 00:18:45,720 Speaker 1: to me, and it got me thinking. And this is 330 00:18:45,760 --> 00:18:46,920 Speaker 1: the question of the week that I want you to 331 00:18:46,960 --> 00:18:49,359 Speaker 1: be thinking about when you're listening to the fifty cent episode. 332 00:18:49,520 --> 00:18:52,760 Speaker 1: Which hip hop star dead or alive would you most 333 00:18:52,760 --> 00:18:54,400 Speaker 1: want to chill out with and have a drink with, 334 00:18:54,520 --> 00:18:56,520 Speaker 1: or you know, just just spend some time with and 335 00:18:56,760 --> 00:18:59,399 Speaker 1: listen to them talk, ask some questions. It's gotta be 336 00:18:59,400 --> 00:19:01,320 Speaker 1: a hip hop star? Which one is it? Fifty cent? 337 00:19:01,400 --> 00:19:03,640 Speaker 1: He's high on my list. I don't know. He might 338 00:19:03,640 --> 00:19:05,399 Speaker 1: be number one, just because he seems to be so 339 00:19:05,600 --> 00:19:08,480 Speaker 1: fricking crazy and, like I said, such an enigma. But 340 00:19:08,520 --> 00:19:10,400 Speaker 1: I want to know your answer. Six one seven, nine 341 00:19:10,400 --> 00:19:13,119 Speaker 1: oh six, six sixty three eight voicemail and text to 342 00:19:13,200 --> 00:19:16,960 Speaker 1: hear yourself, possibly in the next after Party episode. You 343 00:19:17,000 --> 00:19:18,720 Speaker 1: know where I'm at. I'm in the phone booth. It's 344 00:19:18,760 --> 00:19:21,720 Speaker 1: the one across the hall. I am hanging on the telephone. 345 00:19:21,960 --> 00:19:25,359 Speaker 1: This week's question of the week relative to are Brian 346 00:19:25,400 --> 00:19:31,400 Speaker 1: Wilson's story was which artists living or dead best fits 347 00:19:31,840 --> 00:19:36,399 Speaker 1: the description of tortured artists nine oh two Text in, 348 00:19:36,480 --> 00:19:39,320 Speaker 1: Hey Jake, this is Babs from the five oh six, 349 00:19:39,440 --> 00:19:42,679 Speaker 1: but I'm telling you her number is nine oh two. Babs, 350 00:19:42,720 --> 00:19:46,680 Speaker 1: what's up? Bab's in the five oh six and New Brunswick, Canada, 351 00:19:46,720 --> 00:19:50,400 Speaker 1: and Bab says, responding to the call, for most tortured artists, 352 00:19:50,400 --> 00:19:53,199 Speaker 1: my pick has got to go to Elliott Smith. His 353 00:19:53,400 --> 00:19:55,840 Speaker 1: story of his childhood with abuse at the hands of 354 00:19:55,840 --> 00:19:59,159 Speaker 1: his stepfather, his struggle with drugs and depression, and this 355 00:19:59,320 --> 00:20:02,720 Speaker 1: much too early, mysterious death is enough to bring tears 356 00:20:02,760 --> 00:20:05,760 Speaker 1: to your eyes just thinking about it all soundtracked by 357 00:20:05,800 --> 00:20:08,959 Speaker 1: his hauntingly beautiful music. Love the podcast. Thanks for all 358 00:20:08,960 --> 00:20:12,480 Speaker 1: the great stories. Rock a rolla Yes, Babs, I don't 359 00:20:12,480 --> 00:20:15,119 Speaker 1: disagree with you. Elliot Smith certainly a tortured artist, and 360 00:20:15,200 --> 00:20:18,800 Speaker 1: his death, my goodness, I have so much to say. 361 00:20:18,840 --> 00:20:20,680 Speaker 1: I have nothing to say. It's you know, we talked 362 00:20:20,680 --> 00:20:22,600 Speaker 1: about it a couple of weeks ago. We talked about 363 00:20:22,640 --> 00:20:25,240 Speaker 1: the mystery behind it. A lot of people want to 364 00:20:25,280 --> 00:20:27,040 Speaker 1: act like it wasn't a mystery. A lot of people 365 00:20:27,080 --> 00:20:29,320 Speaker 1: want to act like it's perfectly normal for somebody to 366 00:20:29,359 --> 00:20:32,919 Speaker 1: take a knife and stab themself in the heart. I 367 00:20:32,960 --> 00:20:35,520 Speaker 1: guess maybe if you're Elliott Smith and you are as 368 00:20:35,560 --> 00:20:40,800 Speaker 1: tortured as Elliott Smith is, it might seem normal. It 369 00:20:40,880 --> 00:20:44,040 Speaker 1: might seem like, hey, this guy is the king of heartbreaks, 370 00:20:44,040 --> 00:20:46,280 Speaker 1: so yeah, he stabbed himself in the heart. But I'm 371 00:20:46,320 --> 00:20:49,680 Speaker 1: just not buying it. Babs. Doesn't sound like you are either. 372 00:20:49,760 --> 00:20:53,200 Speaker 1: Appreciate the text three one two on the same topic, 373 00:20:53,320 --> 00:20:55,720 Speaker 1: right saying hey. In regard to the tortured artist question, 374 00:20:56,240 --> 00:20:58,679 Speaker 1: I would have to say Nick Drake, I know he 375 00:20:58,760 --> 00:21:01,680 Speaker 1: was depressed and overdose and passed away far too young, 376 00:21:02,000 --> 00:21:04,680 Speaker 1: but the music he left behind is not music made 377 00:21:04,720 --> 00:21:08,240 Speaker 1: by someone who is happy and well adjusted. Though since 378 00:21:08,359 --> 00:21:11,200 Speaker 1: when do happy and well adjusted people make interesting music? 379 00:21:11,680 --> 00:21:14,399 Speaker 1: On a personal note, Pink Moon is the only album 380 00:21:14,440 --> 00:21:17,240 Speaker 1: to move me to tears the first time I heard it. 381 00:21:17,240 --> 00:21:20,280 Speaker 1: It's beautiful and sad, and the sparseness of the production 382 00:21:20,480 --> 00:21:24,040 Speaker 1: just broke me. And his voice is so soft and heartfelt, 383 00:21:24,359 --> 00:21:27,080 Speaker 1: making me tear up just thinking about it. That's the 384 00:21:27,080 --> 00:21:29,920 Speaker 1: three one two on Nick Drake. I know there's a 385 00:21:30,000 --> 00:21:32,440 Speaker 1: Nick Drake story in there for us guys. I know it. 386 00:21:32,520 --> 00:21:34,320 Speaker 1: I know it's there. I don't know what it is. 387 00:21:35,000 --> 00:21:37,320 Speaker 1: I gotta admit I'm a little scared to dig in. 388 00:21:38,160 --> 00:21:40,320 Speaker 1: I like heartbreak as much as the next guy, but 389 00:21:40,760 --> 00:21:44,320 Speaker 1: you know, it's tough sometimes. I would also add three 390 00:21:44,400 --> 00:21:46,399 Speaker 1: one two in nine oh two, I would add to 391 00:21:46,440 --> 00:21:50,160 Speaker 1: this list Jeff Buckley in his demise, and I wonder 392 00:21:50,160 --> 00:21:52,600 Speaker 1: if anybody's seen this movie yet six point seven nine 393 00:21:52,600 --> 00:21:54,600 Speaker 1: oh six six six three eight, call me let me 394 00:21:54,640 --> 00:21:56,879 Speaker 1: know if you have. I was gonna watch it this weekend. 395 00:21:56,960 --> 00:21:58,480 Speaker 1: You can watch it on Apple. I was gonna watch 396 00:21:58,480 --> 00:22:01,080 Speaker 1: it this weekend with my wife, but we get too busy. 397 00:22:01,119 --> 00:22:02,880 Speaker 1: We'd end up seeing it. We're hanging out with friends. 398 00:22:02,880 --> 00:22:04,359 Speaker 1: We had it. We had ourselves a good lot of 399 00:22:04,400 --> 00:22:07,719 Speaker 1: social stuff this weekend, so it didn't happen. Perhaps this weekend, 400 00:22:07,960 --> 00:22:10,000 Speaker 1: so check it out. If you haven't seen it, maybe 401 00:22:10,040 --> 00:22:12,359 Speaker 1: we'll talk about it next week in the after party. 402 00:22:12,520 --> 00:22:14,520 Speaker 1: Six one seven nine oh six six six three eight. 403 00:22:14,520 --> 00:22:15,960 Speaker 1: You guys want to send me a text, leave me 404 00:22:15,960 --> 00:22:18,840 Speaker 1: a voicemail on any subject at all, Question of the 405 00:22:18,840 --> 00:22:20,800 Speaker 1: week or otherwise. Next week's question of the week is 406 00:22:20,840 --> 00:22:22,720 Speaker 1: going to be which hip hop star a living or dead? 407 00:22:23,040 --> 00:22:24,399 Speaker 1: Do you want to hang out with? Would you want 408 00:22:24,400 --> 00:22:26,160 Speaker 1: to have a beer with, maybe a smoke with, maybe 409 00:22:26,200 --> 00:22:28,920 Speaker 1: just chill? Six one seven nine oh six six six 410 00:22:29,040 --> 00:22:31,880 Speaker 1: three eight. Let me know, all right, Disgrace slam Pod 411 00:22:31,920 --> 00:22:33,440 Speaker 1: at gmail dot com. You guys want to hit me 412 00:22:33,520 --> 00:22:36,119 Speaker 1: up on email, Promise to give you guys more readings 413 00:22:36,119 --> 00:22:39,080 Speaker 1: of the emails. It's been a while, Sonny Becks writes 414 00:22:39,160 --> 00:22:42,480 Speaker 1: in she says subject thank you message, thank you so 415 00:22:42,560 --> 00:22:47,000 Speaker 1: much for noting the thievery of Yayoi Kusama. Maybe pronouncing 416 00:22:47,000 --> 00:22:49,520 Speaker 1: that name wrong, This is an artist. I'm gonna spell 417 00:22:49,560 --> 00:22:51,120 Speaker 1: it out for you so you can check her out. 418 00:22:51,119 --> 00:22:56,920 Speaker 1: It's y a Yoi Kusama Ku sa m A. Thank 419 00:22:56,960 --> 00:22:59,840 Speaker 1: you so much for noting the thievery of Yayoi Kusama 420 00:22:59,880 --> 00:23:03,400 Speaker 1: in your podcast. Most people are not aware that any 421 00:23:03,560 --> 00:23:07,720 Speaker 1: much less multiple successful male artists stole from her over 422 00:23:07,760 --> 00:23:10,720 Speaker 1: those years, So thank you for noting Warhol. Hopefully it 423 00:23:10,760 --> 00:23:14,840 Speaker 1: will burst his bubble in some people's eyes. I mentioned 424 00:23:14,880 --> 00:23:19,399 Speaker 1: this scene with Andy Warhol directly lifting from this artist 425 00:23:20,359 --> 00:23:24,200 Speaker 1: in a pretty obvious and direct way. When I read 426 00:23:24,200 --> 00:23:28,159 Speaker 1: this depiction, it really shocked me, and the theft of 427 00:23:28,200 --> 00:23:31,880 Speaker 1: it was just so blatant. And I believe it's in 428 00:23:32,000 --> 00:23:33,920 Speaker 1: not in the Andy Warhol episode of Disgrace, And I'm 429 00:23:33,920 --> 00:23:38,240 Speaker 1: pretty sure what Sonny Becks here is referring to is 430 00:23:38,320 --> 00:23:41,320 Speaker 1: the David Bowie episode. And I get into a little 431 00:23:41,320 --> 00:23:44,440 Speaker 1: bit of back and forth between Bowie and Andy Warhol, 432 00:23:45,000 --> 00:23:48,520 Speaker 1: and that's where I brought this anecdote to life. So 433 00:23:48,560 --> 00:23:49,840 Speaker 1: if you want to hear more about that, check out 434 00:23:49,840 --> 00:23:54,240 Speaker 1: the David Bowie episode. Tristan Dietrich writes in subject Chasm 435 00:23:54,600 --> 00:23:59,200 Speaker 1: Rant message Jake, I have only recently discovered your podcast, 436 00:23:59,240 --> 00:24:03,200 Speaker 1: They're very Music has been my primary art of inspiration 437 00:24:03,280 --> 00:24:05,720 Speaker 1: from a very young age. I worked in the music 438 00:24:05,760 --> 00:24:09,320 Speaker 1: business between around nineteen eighty eight and two thousand, record labels, 439 00:24:09,440 --> 00:24:13,360 Speaker 1: producer management, or recording studio artist management, mostly in LA 440 00:24:13,440 --> 00:24:15,399 Speaker 1: and for a couple of years in NYC. It is 441 00:24:15,600 --> 00:24:19,240 Speaker 1: such a pleasure such res all caps, such a pleasure 442 00:24:19,440 --> 00:24:22,719 Speaker 1: to listen to stories I already know but would never tell, 443 00:24:23,000 --> 00:24:26,800 Speaker 1: and to learn new info. I'm absolutely on board with 444 00:24:26,880 --> 00:24:31,000 Speaker 1: your Chasm Rant and appreciate the moniker. The sanitization of 445 00:24:31,040 --> 00:24:34,720 Speaker 1: these incredible stories is a huge deficit to pop culture 446 00:24:35,000 --> 00:24:38,840 Speaker 1: and eventually even our collective unconscious. Thank you so much 447 00:24:38,880 --> 00:24:42,280 Speaker 1: for the entertainment and well written delivery, Tristan, Thank you 448 00:24:42,359 --> 00:24:45,040 Speaker 1: for writing. Thank you for validating my take here on 449 00:24:45,160 --> 00:24:49,120 Speaker 1: Chasm the corporate algorithmic studio storytelling machine that prevents us 450 00:24:49,119 --> 00:24:53,000 Speaker 1: from getting to the truth of the stories from music history. 451 00:24:53,720 --> 00:24:56,960 Speaker 1: This has become more of an issue recently as the gatekeeping, 452 00:24:57,440 --> 00:25:01,000 Speaker 1: especially on the studio side, has become just insane, and 453 00:25:01,480 --> 00:25:05,240 Speaker 1: also as it pertains to digital media and where I'm 454 00:25:05,240 --> 00:25:08,480 Speaker 1: finding this most Tristan in my little corn, our little 455 00:25:08,480 --> 00:25:10,840 Speaker 1: corner of the world here, when I get into the 456 00:25:10,880 --> 00:25:12,920 Speaker 1: into the after party episodes with you guys, I can 457 00:25:13,000 --> 00:25:16,680 Speaker 1: I can pretty much go bandy about whatever theories we want, 458 00:25:16,760 --> 00:25:19,360 Speaker 1: go back and forth. We can discuss them with nuance, 459 00:25:19,880 --> 00:25:22,760 Speaker 1: like like we're doing with this Charles Manson sex tape 460 00:25:22,760 --> 00:25:25,320 Speaker 1: thing with the Beach Boys. We're talking about it, We're 461 00:25:25,359 --> 00:25:28,040 Speaker 1: presenting these theories, we're figuring out whether or not it 462 00:25:28,160 --> 00:25:31,240 Speaker 1: happened or not together in real time, and there's nothing 463 00:25:31,320 --> 00:25:33,760 Speaker 1: wrong with that. I'm not coming out in a salacious 464 00:25:33,800 --> 00:25:36,440 Speaker 1: way and saying that there's an orgy tape with with 465 00:25:36,560 --> 00:25:39,680 Speaker 1: Brian Wilson and you know, and Al Jardine, you know 466 00:25:39,720 --> 00:25:43,160 Speaker 1: what I mean, Like, I'm not That's not what I'm doing. Clearly, 467 00:25:43,480 --> 00:25:46,560 Speaker 1: I'm digging in to these stories that have long been whispered, 468 00:25:46,600 --> 00:25:49,600 Speaker 1: as Tristan is validating here and trying to find out 469 00:25:49,640 --> 00:25:52,200 Speaker 1: if they're real or not. And I'm being pretty open 470 00:25:52,200 --> 00:25:54,480 Speaker 1: about the sourcing and who said what, and who's who's 471 00:25:54,520 --> 00:25:58,200 Speaker 1: refuted this stuff and who's confirmed it. And my point 472 00:25:58,280 --> 00:26:00,000 Speaker 1: is that you can do that in audio. You can 473 00:26:00,119 --> 00:26:03,320 Speaker 1: do that with a podcast in an audio form. It 474 00:26:03,320 --> 00:26:07,200 Speaker 1: gets really difficult to do for some reason in digital 475 00:26:07,240 --> 00:26:11,679 Speaker 1: media with video. And I don't know why. YouTube Spotify 476 00:26:11,800 --> 00:26:14,200 Speaker 1: is you know, Spotify has this whole video podcasting they're 477 00:26:14,200 --> 00:26:17,800 Speaker 1: doing now. YouTube and Spotify they are much more restrictive 478 00:26:17,840 --> 00:26:20,480 Speaker 1: with what they will even let you talk about. And 479 00:26:20,520 --> 00:26:22,720 Speaker 1: I know there's been you know, the way things have 480 00:26:22,840 --> 00:26:24,399 Speaker 1: changed over the last couple of years has been a 481 00:26:24,440 --> 00:26:26,760 Speaker 1: lot of mentioning about well, you can do more, there's 482 00:26:26,760 --> 00:26:29,280 Speaker 1: more freedom. It's like, yeah, there is, and there isn't. 483 00:26:29,680 --> 00:26:32,639 Speaker 1: So much of this content is controlled and monitored by 484 00:26:32,800 --> 00:26:36,280 Speaker 1: artificial intelligence that picks up keywords and you say things 485 00:26:36,320 --> 00:26:40,280 Speaker 1: like jokingly off the cuff, like Orgy or even mentioned 486 00:26:40,359 --> 00:26:44,680 Speaker 1: Charles Manson even mentioned serial Killer as a descriptor of somebody, 487 00:26:44,960 --> 00:26:47,520 Speaker 1: and your content will get flagged. And if you don't 488 00:26:47,520 --> 00:26:53,520 Speaker 1: have a huge, huge following on that specific platform, it's 489 00:26:53,680 --> 00:26:57,760 Speaker 1: really hard for you to fight and to get your 490 00:26:57,800 --> 00:27:02,920 Speaker 1: content seen. And it pisses me off. It's so restrictive. 491 00:27:03,320 --> 00:27:08,119 Speaker 1: It's more restrictive than the nineteen eighties. It's more restrictive 492 00:27:08,119 --> 00:27:10,880 Speaker 1: than the PMRC days, which I'm writing about right now. 493 00:27:10,880 --> 00:27:14,280 Speaker 1: In our Judas Priest episode. And again, thankfully, I'm not 494 00:27:14,359 --> 00:27:17,719 Speaker 1: talking about the audio world. I'm not talking about what 495 00:27:17,960 --> 00:27:21,959 Speaker 1: our real podcasts. I'm talking about the digital media video 496 00:27:22,080 --> 00:27:24,480 Speaker 1: side of the fence, which is where everything's going, which 497 00:27:24,480 --> 00:27:26,920 Speaker 1: is where the audience is going. It's going to YouTube, 498 00:27:27,359 --> 00:27:30,359 Speaker 1: and Spotify is clearly saying it's going to Spotify as well. 499 00:27:30,560 --> 00:27:33,000 Speaker 1: This has to get fixed otherwise we're just going to 500 00:27:33,119 --> 00:27:38,440 Speaker 1: end up with, to Tristan's point here, with this sort 501 00:27:38,440 --> 00:27:44,439 Speaker 1: of super vanilla depiction of history. And I'm only concerned 502 00:27:44,480 --> 00:27:48,480 Speaker 1: with music history, but this applies to everything. And I 503 00:27:48,520 --> 00:27:50,440 Speaker 1: don't know what the solution is except to keep talking 504 00:27:50,440 --> 00:27:52,320 Speaker 1: about it and keep trying to fix it in some way. 505 00:27:52,880 --> 00:27:57,600 Speaker 1: But yeah, that's chasm, the corporate algorithics, studio storytelling machine, 506 00:27:57,640 --> 00:27:59,520 Speaker 1: the studio side as a whole other beast that I've 507 00:27:59,520 --> 00:28:02,040 Speaker 1: talked about the past, and we'll talk about the future. Tristan, 508 00:28:02,040 --> 00:28:03,680 Speaker 1: thanks for the email. Hit us back if you want, 509 00:28:03,720 --> 00:28:05,480 Speaker 1: my friend. You got me off on a rent there. 510 00:28:05,480 --> 00:28:21,840 Speaker 1: I gotta take a break. I'll be back in a flash. 511 00:28:22,200 --> 00:28:25,240 Speaker 1: All right, We are back. Welcome back, Welcome back, welcome back. 512 00:28:25,280 --> 00:28:26,879 Speaker 1: You know where you're at. You're in the after party. 513 00:28:26,920 --> 00:28:30,160 Speaker 1: You're in the Disgraceland after party in the Disgraceland feed. 514 00:28:30,480 --> 00:28:32,479 Speaker 1: You're not in the hollywood Land feed. But there is 515 00:28:32,520 --> 00:28:34,760 Speaker 1: a hollywood Land feed for you to mess with and 516 00:28:34,800 --> 00:28:36,919 Speaker 1: what you're gonna get over. There is a full archive, 517 00:28:37,000 --> 00:28:39,200 Speaker 1: as you know, of some of the greatest true crime 518 00:28:39,280 --> 00:28:44,040 Speaker 1: storytelling from Hollywood. Myself and Zeth Lundy giving you the 519 00:28:44,040 --> 00:28:47,720 Speaker 1: goods every week. Subscribe to hollywood Land wherever you get 520 00:28:47,720 --> 00:28:51,160 Speaker 1: your podcasts. Now, I'm going to switch gears from Hollywood 521 00:28:51,200 --> 00:28:54,320 Speaker 1: to sports real quick. This sixty second sports rant in 522 00:28:54,440 --> 00:28:57,640 Speaker 1: under thirty seconds is once again sponsored by the fine 523 00:28:57,680 --> 00:28:59,960 Speaker 1: folks of Five Hour Energy in their new Confetti craze. 524 00:29:00,360 --> 00:29:02,360 Speaker 1: It tastes just like birthday cake with a vanilla and 525 00:29:02,360 --> 00:29:06,880 Speaker 1: buttery flavor to let you be unapologetically extra and unstoppably energized. 526 00:29:06,920 --> 00:29:10,440 Speaker 1: Head to your local retailer www. Dot five hour Energy 527 00:29:10,520 --> 00:29:14,360 Speaker 1: dot com or Amazon to order yours today. All right, Matt, 528 00:29:14,640 --> 00:29:17,120 Speaker 1: give us a little TikTok. Now, I'm not going to 529 00:29:17,200 --> 00:29:19,280 Speaker 1: run about the Red Sox slipping in September. I'm not 530 00:29:19,400 --> 00:29:21,280 Speaker 1: going to complain about the fact that they were merely 531 00:29:21,360 --> 00:29:23,640 Speaker 1: tied with the Yankees for second place and how Yeah, 532 00:29:23,840 --> 00:29:26,080 Speaker 1: that might be good enough for some people, but tied 533 00:29:26,360 --> 00:29:29,960 Speaker 1: for second is a glorified participation trophy and it doesn't 534 00:29:30,000 --> 00:29:33,160 Speaker 1: guarantee us anything in October. You know what tied for 535 00:29:33,200 --> 00:29:35,520 Speaker 1: second means. It means we are also tied for just 536 00:29:35,600 --> 00:29:39,000 Speaker 1: first place in the wild card standings. Yay, first place 537 00:29:39,120 --> 00:29:40,840 Speaker 1: in the wild card standings. I don't give a shit 538 00:29:40,880 --> 00:29:43,560 Speaker 1: about the wild card standings. I mean I do, but man, 539 00:29:43,640 --> 00:29:46,120 Speaker 1: it's not an enviable place to be. Don't even get 540 00:29:46,120 --> 00:29:49,200 Speaker 1: me started on the less than ideal playoff ramifications is pretense? 541 00:29:49,440 --> 00:29:51,280 Speaker 1: Why do we even have to mess around with this 542 00:29:51,360 --> 00:29:53,600 Speaker 1: type of thing? Red Sox ownership, why do we have 543 00:29:53,680 --> 00:29:57,320 Speaker 1: to always be too clever by half? John Henry's team 544 00:29:57,320 --> 00:29:59,080 Speaker 1: has more money than God. So why can't you just 545 00:29:59,080 --> 00:30:01,400 Speaker 1: go out at the trade deadline in the preseason and 546 00:30:01,480 --> 00:30:06,600 Speaker 1: sign studs, trade for studs, don't trade away studs. Don't 547 00:30:06,680 --> 00:30:09,800 Speaker 1: let your free agent studs go to the damn Dodgers. Yeah, 548 00:30:09,800 --> 00:30:12,160 Speaker 1: I'm never getting over Mookie Bets. I'm not sign legit 549 00:30:12,240 --> 00:30:14,120 Speaker 1: starting pitchers. Why don't you sign. 550 00:30:13,920 --> 00:30:17,040 Speaker 2: Players that rival the other beasts in the league, Yes, 551 00:30:17,160 --> 00:30:20,240 Speaker 2: the Yankees, but also the Dodgers, the Phillies, I'm sitting 552 00:30:20,240 --> 00:30:22,200 Speaker 2: here sweating the wildcard race. But do we really think 553 00:30:22,200 --> 00:30:24,280 Speaker 2: we're gonna go far with this team is presently constituted 554 00:30:24,320 --> 00:30:25,160 Speaker 2: in the playoffs against the. 555 00:30:25,200 --> 00:30:27,920 Speaker 1: Iron of the league. I have seen this movie before 556 00:30:27,960 --> 00:30:30,400 Speaker 1: and I don't like how it ends. Help me, Matt, 557 00:30:30,440 --> 00:30:34,880 Speaker 1: how did I do? Okay? Jake and Improvement one fourteen today, 558 00:30:35,320 --> 00:30:38,880 Speaker 1: you've seen, you know, pretty amped up. Yeah, man, I'm 559 00:30:38,920 --> 00:30:44,840 Speaker 1: clearly uh, I'm not yet over the shellacking that Garret 560 00:30:44,920 --> 00:30:48,520 Speaker 1: Crochet took last night in last night's game, and I'm 561 00:30:48,520 --> 00:30:53,040 Speaker 1: emotionally keyed up, keyed up, keyed up. So you know, 562 00:30:53,080 --> 00:30:56,000 Speaker 1: I'll take the ball again in another what seven days, 563 00:30:56,000 --> 00:30:59,000 Speaker 1: and we'll see how we do then. Anyways, that was 564 00:30:59,040 --> 00:31:02,280 Speaker 1: the sports rants answered by Five Hour Energies New Confetti 565 00:31:02,320 --> 00:31:04,960 Speaker 1: Craze Flavor Unleash your Party vibes with as much caffeine 566 00:31:04,960 --> 00:31:07,760 Speaker 1: as your favorite twelve months fancy coffee, but with zero 567 00:31:07,840 --> 00:31:11,440 Speaker 1: sugar and zero crash, available in stores on Amazon or 568 00:31:11,480 --> 00:31:14,760 Speaker 1: at www. Dot five hour Energy dot com. All right, 569 00:31:14,840 --> 00:31:17,720 Speaker 1: speaking to rants. Want to hear crazy cult members ranting 570 00:31:17,760 --> 00:31:20,800 Speaker 1: hipippy sexchasms in the studio over the sound of America's band. Yeah, 571 00:31:20,840 --> 00:31:23,480 Speaker 1: I thought you did we're talking about the mysterious existence 572 00:31:23,480 --> 00:31:26,920 Speaker 1: of the long lost Beach Boys recording session with Charles 573 00:31:26,960 --> 00:31:30,080 Speaker 1: Manson and his family, and what's actually on the tape 574 00:31:30,080 --> 00:31:32,600 Speaker 1: and whether or not those tapes even exist. I think 575 00:31:32,600 --> 00:31:35,520 Speaker 1: you're going to be surprised with my take on this one, 576 00:31:35,680 --> 00:31:38,640 Speaker 1: not my tape, with my take, so lots of questions 577 00:31:38,680 --> 00:31:41,640 Speaker 1: surrounding this topic. Which band member once admitted the band 578 00:31:42,000 --> 00:31:45,240 Speaker 1: had these tapes in their possession, who was supposedly seen 579 00:31:45,320 --> 00:31:48,640 Speaker 1: tossing the master tapes into the ocean, and what did 580 00:31:48,720 --> 00:31:53,320 Speaker 1: Charles Manson himself say about these supposed tapes, what's on them? 581 00:31:53,360 --> 00:31:56,720 Speaker 1: And most important, what does Charles Manson being backed by 582 00:31:56,760 --> 00:32:00,440 Speaker 1: the Beach Boys actually sound like? Were these tapes tod 583 00:32:00,520 --> 00:32:02,239 Speaker 1: were they locked away in the vaults or are they 584 00:32:02,280 --> 00:32:06,880 Speaker 1: sitting unheard waiting to rewrite a piece of music history. 585 00:32:06,920 --> 00:32:09,600 Speaker 1: I'm digging into this mystery right now in the exclusive 586 00:32:09,640 --> 00:32:11,880 Speaker 1: section of this after party. Look, I think there's an 587 00:32:12,040 --> 00:32:15,120 Speaker 1: entire episode here for us to do just on this subject. 588 00:32:15,160 --> 00:32:17,520 Speaker 1: I'm not saying we're doing it. I'm kicking it around 589 00:32:17,560 --> 00:32:19,880 Speaker 1: with you. I want your feedback, if you want to 590 00:32:19,880 --> 00:32:21,040 Speaker 1: hear what I get to say on all this, You 591 00:32:21,080 --> 00:32:23,000 Speaker 1: gotta be an all access member to hear it. Go 592 00:32:23,000 --> 00:32:26,320 Speaker 1: to Disgrace sampod dot com slash membership and get access 593 00:32:26,600 --> 00:32:29,600 Speaker 1: five bucks a month. That's all costs right now. Prices 594 00:32:29,640 --> 00:32:31,640 Speaker 1: are going up though. Five bucks a month will get 595 00:32:31,680 --> 00:32:48,480 Speaker 1: you into this exclusive section of the after party. All right, 596 00:32:48,520 --> 00:32:50,520 Speaker 1: we are back. Thank you for joining me in this 597 00:32:50,640 --> 00:32:52,920 Speaker 1: after party. Listen in the vault. We got tons of 598 00:32:52,920 --> 00:32:55,720 Speaker 1: episodes that we're mentioned as always sitting there waiting for 599 00:32:55,760 --> 00:32:57,440 Speaker 1: you to get into if you haven't heard them yet. 600 00:32:57,480 --> 00:33:00,320 Speaker 1: We talked about David Bowie and that stories of Ill. 601 00:33:00,360 --> 00:33:02,280 Speaker 1: We talked about the Beatles, talked a bunch of We 602 00:33:02,280 --> 00:33:05,640 Speaker 1: basically have episodes on every single Beatle, including Stuve Suckcliffe. 603 00:33:05,920 --> 00:33:08,840 Speaker 1: Check those out. Also two episodes on the band themselves. 604 00:33:09,120 --> 00:33:11,680 Speaker 1: We brought up Elvis. We've got an Elvis episode, and 605 00:33:11,760 --> 00:33:13,920 Speaker 1: we brought up what else Motown? You can check that out. 606 00:33:13,920 --> 00:33:16,400 Speaker 1: Matt's going to have the episode inote in the show 607 00:33:16,480 --> 00:33:19,360 Speaker 1: notes section of this year after Party, so you can 608 00:33:19,400 --> 00:33:22,160 Speaker 1: easily find those stories if you want to check them out. 609 00:33:23,040 --> 00:33:26,440 Speaker 1: Let's recap, shall we? Number one? This week's full episode 610 00:33:26,440 --> 00:33:28,480 Speaker 1: of Brian Wilson is available for you to listen to 611 00:33:28,640 --> 00:33:30,840 Speaker 1: right now number two coming up in the rewind slots 612 00:33:30,920 --> 00:33:33,840 Speaker 1: right after this after party Parts one and two on Oasis, 613 00:33:33,920 --> 00:33:37,080 Speaker 1: number three. Up next, our new episode on fifty cent. 614 00:33:37,160 --> 00:33:40,200 Speaker 1: That's a part two episode, number four over in Hollywood 615 00:33:40,240 --> 00:33:42,479 Speaker 1: Land right now, our episode on Charlie Chaplin number five 616 00:33:42,520 --> 00:33:44,480 Speaker 1: six one seven nine oh six six six three eight. 617 00:33:44,640 --> 00:33:46,680 Speaker 1: Your voice keeps us digging into the dark corners of 618 00:33:46,760 --> 00:33:49,239 Speaker 1: music history. So keep calling, keep texting, hit us up 619 00:33:49,240 --> 00:33:51,160 Speaker 1: with your answers to this week's question of the week 620 00:33:51,400 --> 00:33:53,120 Speaker 1: or whatever else you want to talk about. Number six. 621 00:33:53,120 --> 00:33:55,640 Speaker 1: Don't forget this goes. This isn't just content. It's a community, 622 00:33:55,880 --> 00:33:58,920 Speaker 1: a community of the obsessed. No one cares about music, books, records, 623 00:33:58,920 --> 00:34:01,560 Speaker 1: and the crime and crime them all together like you do. 624 00:34:01,760 --> 00:34:05,400 Speaker 1: And well that's a disgrace, all right. Brian Wilson passed 625 00:34:05,440 --> 00:34:09,440 Speaker 1: away recently on June eleventh, twenty twenty five. Here's what 626 00:34:09,440 --> 00:34:11,200 Speaker 1: we were listening to in America on that day, just 627 00:34:11,239 --> 00:34:14,080 Speaker 1: a couple of months ago, according to the Billboard Charts. 628 00:34:14,560 --> 00:34:19,440 Speaker 1: Number one Man Child Sabrina Carpenter last week non applicable 629 00:34:19,719 --> 00:34:25,800 Speaker 1: peak position one weeks on chart one. Number two Ordinary 630 00:34:26,320 --> 00:34:32,080 Speaker 1: Alex Warren last week one peak position one weeks on 631 00:34:32,200 --> 00:34:36,960 Speaker 1: chart last eighteen number three What I Want Morgan Walls 632 00:34:37,280 --> 00:34:42,879 Speaker 1: featuring Tate McCray. Last week Tess Case Peak position one. 633 00:34:42,960 --> 00:34:46,600 Speaker 1: Last last weeks on six peak position position number four. 634 00:34:46,800 --> 00:34:50,200 Speaker 1: Weeks just week Case to Morgan Wallen last week on 635 00:34:50,600 --> 00:34:55,280 Speaker 1: three Man Peak position two. Last weeks on chart twelveth 636 00:34:55,280 --> 00:35:14,719 Speaker 1: position number five. Quit talking and start mixing. H