Sunday, April 5, 2015

Kelley Lynch's Email To Mick Brown Re. Leonard Cohen & Devra Robaitaille's Contradictory Statements

From: Kelley Lynch <>
Date: Sun, Apr 5, 2015 at 8:52 PM
Subject: Re:
To: "irs.commissioner" <>, Washington Field <>, ASKDOJ <>, "Division, Criminal" <>, "Doug.Davis" <>, Dennis <>, MollyHale <>, nsapao <>, fsb <>, rbyucaipa <>, khuvane <>, blourd <>, Robert MacMillan <>, a <>, wennermedia <>, Mick Brown <>, "glenn.greenwald" <>, lrohter <>, Harriet Ryan <>, "hailey.branson" <>, "stan.garnett" <>, "" <>, Feedback <>,

Hi Mick,

Did you know that Paulette is the reason for the John Lennon sessions at the Record Plant?

Anyway, according to this interview, Robaitaille worked for Phillip beginning in 1975.  Kubernik didn't seem to think the Cohen/Spector sessions were "excruciating."  Paulette was with Phil Spector when Cohen came to his La Collina house to begin work writing songs together.  She thought they looked happy at that time.  She agrees with Cohen - it was cold and thought he should have brought a sweater rather than whining about it.

I see, Mick.  What Robaitaille told Investigator Frayeh contradicts what she told you.  Well, that's not surprising.

I thought Paulette raised a good point - why didn't Phillip take John Lennon's tapes home at gunpoint?  They were far more valuable than Cohen's.  And, Cohen wasn't around for the mix so he has no idea how Phillip took them or sent them to the studio.  

Which version do you believe, Mick?  Did Phil Spector hold a gun to Cohen's head, neck, or chest?  Was the weapon an automatic or semi-automatic?  Or, was it a cross-bow?  Why does Cohen's testimony contradict the version the prosecutors used in their motion in limine.  That should have been Brady material in my trial but I don't think my prosecutor had the truth in mind.  I think my lawyer was correct - the DA does NOT want the Spector verdict overturned; the City Attorney and DA (with Cohen) decided to discredit me; and the City Attorney attempted to sabotage IRS.  That's precisely what I witnessed.  Do you think Phillip had a bottle of wine in the "real" incident, Mick?  I'll assure you of this - Phil Spector NEVER told Cohen he loved him.  He could not stand him and warned me about him many many times.  

All the best,

On the taped interview by the two detectives, Robitaille is heard to say something to the effect that she couldn’t remember what was said at the second incident. It is Detective Frayeh who asks Robitaille if Spector said, “I’m going to blow your f***ing brains out.” If I’m remembering correctly, Frayeh asks her this twice, on the tape. Weinberg is doing his job, bringing this point back up again and again, several different ways. This contradicts what she told Caroline Graham (sp?) and later, Mick Brown. Robitaille told Mick Brown that when Spector was holding the gun to her head he said, ‘If you try to leave I’ll pull the trigger.’ “(Page 299 of the hardback edition of Tearing Down the Wall of Sound.)

First off, according to Mick Brown’s book you began working for Spector in 1975. He appointed you ‘Administrative Director’ of the Warner-Spector label. Looking back, how do you feel about that label?
Warner Spector started out so great. It was a brain-child of Joe Smith and Marty Machat I think, and intended to be an outlet for Phil’s music and a celebration of his production talents after some rough criticism. I remember there being high expectations. It was supposed to be a wonderful homage and great collaboration between Warner Brothers and Phil…. but unfortunately, it spiraled down for oh so many reasons ...
The Leonard Cohen album really divides Spector fans. Some like it, others hate it. Including, seemingly, Leonard Cohen himself! Looking back, how do you feel about it and the sessions that took place?
What a fantastic adventure in my life to have been involved in that project. I booked all the sessions and attended every excruciating moment! That is said with a smile though.
So many adventures, too much really to report here. I even received an album credit, the wording of which I have forgotten now, but it was a thank you from Phil for somehow keeping order in the face of all the chaos. I have the utmost respect for Leonard who was always a perfect gentleman and has so much class.

On Sun, Apr 5, 2015 at 8:35 PM, Kelley Lynch <> wrote:

Hi Mr. Riordan,

Paulette is the reason that Phillip and John Lennon recorded at the Record Plant.  She lived with the owner's sister.  She offered Phillip free studio time and that's how things actually unfolded at the time.  

What version of Leonard Cohen's gun story do you believe?  Did Phillip hold the gun to his head, neck, or chest?  I will tell you one thing - Phil Spector never told Cohen he loved him.  He couldn't stand the man and Cohen confirmed that Phil Spector would not return his calls and he had to telegram him to see if he would finish the album.  He did - without Cohen which led to his grotesque remarks about Phillip in the news media.

Cohen certain is unique.  He's able to steal from people; perjure himself; slander people and the news media glorifies him.  I suppose Roshi was right - religion sells.

The situation is obscene.

All the best,

On Sun, Apr 5, 2015 at 8:31 PM, Kelley Lynch <> wrote:

Hi CIA, NSA, and FSB,

You understand guns and ammunition.  Check out this video interview of Spector's former assistant, Devra Robaitaille.  I spoke to her constantly when I worked for Marty Machat.  She never once mentioned Phillip, guns, or his holding a gun on her.  Paulette Brandt worked for Apple, ABKCO, Spector Records, dated Phil Spector, worked in his Pasadena house, worked for him for 12 years from 1991 until 2002, and never once saw him with a gun.  She was at Phil Spector's house when Cohen was there as their work together began.  She also never saw George Brand with a gun.

Cohen testified during my trial that Spector held a gun to his HEAD.  An automatic.  The prosecutor's motion, Spector case, re. "prior bad acts" says Spector held a semi-automatic to Cohen's CHEST.  In this interview, the interviewer says Spector pressed a gun to Cohen's NECK.  Cohen told me for 20 years this never happened.  

I have never said that Cohen was the reason for Spector's conviction.  I have said that just about every single news story about Cohen (including the one I forwarded you today) involves Phil Spector and usually a version of this so-called gun incident.  At times, the gun was replaced with a cross bow and sometimes there's a bottle of wine involved.

Harvey Kubernik was present for these sessions and said Phil Spector was quite focused and there was NO circus like atmosphere.  He did mention Cohen guzzling from a bottle of tequilla and Cohen has mentioned in interivews that this was a dark period for him and he was out of control.  He also lied to the BBC when he told them he had recently spoken to Spector who was no longer mad.  During my alleged trial, he testified that he never spoke to Spector again.  I know that's true because I have spoken to both men about this situation.

Hal Blaine told detectives that in 37 years in the studio he never once saw Phil Spector with a gun.  Gold diggers with motive have including those who sold their stories to the news media.

Janis Zavala was with Phil Spector when Robaitaille first worked for him.  She thought she targeted him.  Steven Machat believes she was disgruntled.  

Why was I able to open Phil Spector's doors in Pasadena and go outside for cigarettes whenever I wanted?  

Paulette knew John Lennon.  Yoko Ono said the story was completely embellished.  Leonard Cohen is not unique.  He's a bald faced liar who has obviously committed criminal tax fraud and stole from me, Machat & Machat, and Phil Spector.  

There is no way in hell Phil Spector said to Leoanrd Cohen "I love you."  He could NOT stand the man.  He refused to continue working with him.  Marty begged Phillip to mix the album and he did.  Cohen wasn't there and doesn't know how the tapes got the studio or who took them.  Armed gunman sound better for the news media.  Cohen knows how to tell tall tales - see his insane stories about his involvement with CIA's MKULTRA, Bay of Pigs, Yom Kippur War, etc.  As Paulette noted - why didn't Phil Spector take John Lennon's tapes home under armed guard since they were far more valuable than Cohen's?  Good point.  She was around during the Spector/Lennon sessions and is the individual who encouraged Phillip to work at the Record Plant.  Her roommate's brother owned it.  

Since Robaitaille didn't work for Phillip until 1974, and the incident allegedly happened in December 1973, how was she present for the John Lennon sessions?  Everyone else thought Spector shot the ceiling but Robaitaille said it's the thermostat.  They recorded at the Record Plant because of Paulette who also knew May Pang quite well at the time.


PD:  But he (Phil Spector) actually put a gun to your head?  Is that correct?
Cohen:  That’s correct.
PD:  It was a revolver?
Cohen:   No, it wasn’t a revolver.  It was an automatic.
PD:  But you weren’t actually -- you didn’t feel threatened when he put a gun to your head?
Cohen:  No, sir.

Harvey Kubernik, a journalist, was present for the Spector/Cohen recordings (as were many others).  He didn't witness an out of control Spector:

Harvey Kubernik:

The track Cohen and Spector are particularly interested in listening to right now is "Don't Go Home With Your Hard-On," the album's all-out stomper, with hosts of loud horns and pulsating beat that's hammered all the way home by dual drummers playing in perfect synch. Above it all, comes Cohen's menacing, gritty vocal work, which holds center stage in a most unexpected but effective way. "I can really belt 'em out, you know," says the singer, as he takes a swig of Jose Cuervo from the bottle.

But that is hardly enough for Phil Spector--whose brilliance only starts with the songs he writes, but really gets to shining when he gets those songs into a studio. And so it is obvious that the Leonard Cohen sessions have been important to him--almost therapeutic. He certainly seems to be taking his work extremely seriously: He has been decidedly less theatrical in the studio of late; the usual Spector circus atmosphere seems to have been replaced at least in part by a rediscovered, or new interest in the music itself. And that seems to be very good medicine, both for Spector and for Cohen.
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