To settle a copyright lawsuit, John Lennon begins a disastrous recording project with one of the most disastrous producers in the biz: Phil Spector. The former “tycoon of teen” attempts to helm John’s rock ‘n roll covers album in Los Angeles, which quickly devolves into drunken hijinks, all while a threatening music executive presents serious challenges. Plus, Spector reveals the reason why John and Yoko wanted to be in the United States in the first place – and it’s not what you think.For more info on BLOOD ON THE TRACKS and other great shows, visit the <a href="https://www.doubleelvis.com/">Double Elvis website</a> and follow Double Elvis on <a href="https://twitter.com/DoubleElvisfm">Twitter</a> and <a href="https://www.instagram.com/doubleelvis/">Instagram</a>. Learn more about your ad-choices at <a href="https://www.iheartpodcastnetwork.com">https://www.iheartpodcastnetwork.com</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

To settle a copyright lawsuit, John Lennon begins a disastrous recording project with one of the most disastrous producers in the biz: Phil Spector. The former “tycoon of teen” attempts to helm John’s rock ‘n roll covers album in Los Angeles, which quickly devolves into drunken hijinks, all while a threatening music executive presents serious challenges. Plus, Spector reveals the reason why John and Yoko wanted to be in the United States in the first place – and it’s not what you think. For more info on BLOOD ON THE TRACKS and other great shows, visit the Double Elvis website and follow Double Elvis on Twitter and Instagram. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

To settle a copyright lawsuit, John Lennon begins a disastrous recording project with one of the most disastrous producers in the biz: Phil Spector. The former “tycoon of teen” attempts to helm John’s rock ‘n roll covers album in Los Angeles, which quickly devolves into drunken hijinks, all while a threatening music executive presents serious challenges. Plus, Spector reveals the reason why John and Yoko wanted to be in the United States in the first place –&nbsp;and it’s not what you think.For more info on BLOOD ON THE TRACKS and other great shows, visit the <a href="https://www.doubleelvis.com/" rel="noopener noreferrer">Double Elvis website</a> and follow Double Elvis on <a href="https://twitter.com/DoubleElvisfm" rel="noopener noreferrer">Twitter</a> and <a href="https://www.instagram.com/doubleelvis/" rel="noopener noreferrer">Instagram</a>. Learn more about your ad-choices at <a href="https://www.iheartpodcastnetwork.com" rel="noopener noreferrer">https://www.iheartpodcastnetwork.com</a>See <a href="https://omnystudio.com/listener" rel="noopener noreferrer">omnystudio.com/listener</a> for privacy information.

John Lennon & Phil Spector (The John Lennon Story, Chapter 3)

In 1966, Brian Wilson planned to follow up the Beach Boys' groundbreaking album Pet Sounds with an even bigger musical statement. He was writing a teenage symphony to God. That album, Smile, was never finished. Instead, Brian slowly unraveled, as the pressure to make something profound weighed heavy on him. He worried that he wasn’t good enough. He worried that he was a failure in the eyes of the record company, his band, his peers, and his own father. He thought his house was bugged. He thought the music he was making conjured some strange voodoo that had a disastrous impact on the real world. He became paranoid. He self-medicated with amphetamines, hash, and LSD. He held meetings in his swimming pool. He imagined people who weren’t there. And eventually, in 1967, he went off the proverbial deep end. Did the real Brian Wilson ever resurface? Part true crime, part historical fiction, part spoken word lo-fi beat noir brought to you by Jake Brennan, and featuring the fictionalized voice Brian Wilson, BLOOD ON THE TRACKS sounds like nothing you’ve heard before. Because you can’t push the needle into the red without leaving a little blood on the tracks.

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In 1966, Brian Wilson planned to follow up the Beach Boys' groundbreaking album Pet Sounds with an even bigger musical statement. He was writing a teenage symphony to God. That album, Smile, was never finished. Instead, Brian slowly unraveled, as the pressure to make something profound weighed heavy on him. He worried that he wasn’t good enough. He worried that he was a failure in the eyes of the record company, his band, his peers, and his own father. He thought his house was bugged. He thought the music he was making conjured some strange voodoo that had a disastrous impact on the real world. He became paranoid. He self-medicated with amphetamines, hash, and LSD. He held meetings in his swimming pool. He imagined people who weren’t there. And eventually, in 1967, he went off the proverbial deep end. Did the real Brian Wilson ever resurface? Part true crime, part historical fiction, part spoken word lo-fi beat noir brought to you by Jake Brennan, and featuring the fictionalized voice Brian Wilson, BLOOD ON THE TRACKS sounds like nothing you’ve heard before. Because you can’t push the needle into the red without leaving a little blood on the tracks.

In 1966, Brian Wilson planned to follow up the Beach Boys' groundbreaking album&nbsp;Pet Sounds with an even bigger musical statement. He was writing a teenage symphony to God. That album,&nbsp;Smile, was never finished. Instead, Brian slowly unraveled, as the pressure to make something profound weighed heavy on him. He worried that he wasn’t good enough. He worried that he was a failure in the eyes of the record company, his band, his peers, and his own father. He thought his house was bugged. He thought the music he was making conjured some strange voodoo that had a disastrous impact on the real world. He became paranoid. He self-medicated with amphetamines, hash, and LSD. He held meetings in his swimming pool. He imagined people who weren’t there. And eventually, in 1967, he went off the proverbial deep end. Did the real Brian Wilson ever resurface? Part true crime, part historical fiction, part spoken word lo-fi beat noir brought to you by Jake Brennan, and featuring the fictionalized voice Brian Wilson, BLOOD ON THE TRACKS sounds like nothing you’ve heard before. Because you can’t push the needle into the red without leaving a little blood on the tracks.

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John Lennon & Phil Spector (The John Lennon Story, Chapter 3)

John Lennon & Phil Spector (The John Lennon Story, Chapter 3)

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