Debbie Harry, Blondie frontwoman and siren of the ‘70s NYC punk scene, talks about making the jump from the Big Apple to the City of Angels, with stops at The Whisky, KROQ, American Bandstand, and, of course, Phil Spector’s mansion. Her story is also The Ramones’ story, and both the beauty and the beasts share the good, the bad, and the downright weird in their tales of working with pop music’s most reclusive and abusive record producer. 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.

Debbie Harry, Blondie frontwoman and siren of the ‘70s NYC punk scene, talks about making the jump from the Big Apple to the City of Angels, with stops at The Whisky, KROQ, American Bandstand, and, of course, Phil Spector’s mansion. Her story is also The Ramones’ story, and both the beauty and the beasts share the good, the bad, and the downright weird in their tales of working with pop music’s most reclusive and abusive record producer. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

Debbie Harry, Blondie frontwoman and siren of the ‘70s NYC punk scene, talks about making the jump from the Big Apple to the City of Angels, with stops at The Whisky, KROQ, American Bandstand, and, of course, Phil Spector’s mansion. Her story is also The Ramones’ story, and both the beauty and the beasts share the good, the bad, and the downright weird in their tales of working with pop music’s most reclusive and abusive record producer. 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.

The Phil Spector Story, Chapter Six: Phil Spector and Debbie Harry

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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The Phil Spector Story, Chapter Six: Phil Spector and Debbie Harry

The Phil Spector Story, Chapter Six: Phil Spector and Debbie Harry

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