1 00:00:15,476 --> 00:00:23,116 Speaker 1: Pushkin. Guitarist and songwriter Nancy Wilson is one half of 2 00:00:23,156 --> 00:00:26,356 Speaker 1: the rock band Heart, along with her older sister Anne Wilson. 3 00:00:27,236 --> 00:00:28,996 Speaker 1: Nancy and Ann have been the face of the band 4 00:00:29,036 --> 00:00:31,676 Speaker 1: since the mid seventies, when they started playing gigs around 5 00:00:31,676 --> 00:00:35,396 Speaker 1: their home base in Vancouver, British Columbia. The Wilson sisters 6 00:00:35,436 --> 00:00:38,516 Speaker 1: both migrated to Canada from Seattle, Washington to join a 7 00:00:38,556 --> 00:00:42,916 Speaker 1: band member who was dodging the Vietnam draft. Heart's first album, 8 00:00:43,036 --> 00:00:46,196 Speaker 1: Dreamboat Annie, was released in nineteen seventy six, right as 9 00:00:46,196 --> 00:00:48,756 Speaker 1: a band was making traction opening for big acts like 10 00:00:48,876 --> 00:00:52,076 Speaker 1: Rod Stewart and the Bee Gees. Soon, their songs like 11 00:00:52,196 --> 00:00:54,756 Speaker 1: Magic Man and Crazy On You started to take off 12 00:00:54,756 --> 00:00:57,836 Speaker 1: in the States, and Heart quickly became a headlining act. 13 00:00:58,676 --> 00:01:01,956 Speaker 1: Nearly fifty years since the debut album, Heart has experienced 14 00:01:02,076 --> 00:01:04,876 Speaker 1: career highs like a string of chart topping hits and 15 00:01:04,916 --> 00:01:06,956 Speaker 1: an induction into the Rock and Roll Hall of Fame, 16 00:01:07,556 --> 00:01:11,916 Speaker 1: as well as their fair share of personal and professional adversity. Today, 17 00:01:11,996 --> 00:01:16,076 Speaker 1: Ann and Nancy remain steadfast in continuing Heart's legacy. This month, 18 00:01:16,156 --> 00:01:18,956 Speaker 1: they are embarking on a world tour, their first in 19 00:01:19,036 --> 00:01:23,596 Speaker 1: five years, to celebrate Anna and Nancy Wilson's massive contribution 20 00:01:23,676 --> 00:01:26,756 Speaker 1: to rock and roll history. Will feature conversations with both 21 00:01:26,836 --> 00:01:29,956 Speaker 1: sisters over the next two weeks. Today, we'll hear Leo 22 00:01:30,036 --> 00:01:32,356 Speaker 1: Rose talk to Nancy about how the popular drugs of 23 00:01:32,396 --> 00:01:36,596 Speaker 1: the seventies and eighties influenced Heart's sound. She also describes 24 00:01:36,636 --> 00:01:39,556 Speaker 1: how being accepted by the musicians of Seattle's grunge scene 25 00:01:39,676 --> 00:01:43,396 Speaker 1: helped her overcome Heart's fraud experience recording power ballads in 26 00:01:43,436 --> 00:01:46,956 Speaker 1: the eighties, and she describes the lo fi setup she 27 00:01:47,036 --> 00:01:49,716 Speaker 1: used to score the soundtracks of her ex husband Cameron 28 00:01:49,756 --> 00:01:54,276 Speaker 1: Crowe's hit movies Almost Famous, Vanilla Sky, and Jerry Maguire. 29 00:01:57,116 --> 00:02:00,356 Speaker 1: This is broken record liner notes for the digital age. 30 00:02:00,516 --> 00:02:01,476 Speaker 2: I'm justin Ritchman. 31 00:02:02,236 --> 00:02:05,476 Speaker 1: Here's Lea Rose's conversation with Heart's Nancy Wilson. 32 00:02:06,476 --> 00:02:09,596 Speaker 3: I was looking at your upcoming tour dates and I 33 00:02:09,636 --> 00:02:12,756 Speaker 3: know this is you know, probably nothing new to you, 34 00:02:12,916 --> 00:02:14,556 Speaker 3: but it has been five years since you've been on 35 00:02:14,596 --> 00:02:17,436 Speaker 3: the road. Yeah, I guess with this sort of like 36 00:02:17,476 --> 00:02:21,316 Speaker 3: an arena tour. Yes, I didn't realize it was five 37 00:02:21,436 --> 00:02:22,156 Speaker 3: months long. 38 00:02:23,116 --> 00:02:24,556 Speaker 2: Well yeah, yeah. 39 00:02:24,556 --> 00:02:26,356 Speaker 3: Does that sound like a long time to you or 40 00:02:26,436 --> 00:02:30,876 Speaker 3: is that just part of life and you readjust. 41 00:02:30,756 --> 00:02:33,636 Speaker 2: Right now what I've heard. The last I heard the 42 00:02:33,756 --> 00:02:38,996 Speaker 2: last Heart show is December fifteenth, so it's been extended. 43 00:02:39,596 --> 00:02:43,076 Speaker 2: I think it's been extended through another running through Canada. 44 00:02:43,676 --> 00:02:45,036 Speaker 2: I love Canada. 45 00:02:44,716 --> 00:02:46,956 Speaker 3: Though, good old Canada for heart. 46 00:02:47,276 --> 00:02:50,516 Speaker 2: Good Old Canada for Heart. I know it's our other home, 47 00:02:51,396 --> 00:02:53,916 Speaker 2: you know, but there's breaks between. Do you do about 48 00:02:54,356 --> 00:02:59,036 Speaker 2: twenty shows or thirty shows? Then you go home for 49 00:02:59,116 --> 00:03:03,156 Speaker 2: maybe two weeks, so you can, you know, answer you're mail. 50 00:03:03,436 --> 00:03:06,836 Speaker 3: You know, what sort of comforts do you set up 51 00:03:06,876 --> 00:03:08,756 Speaker 3: for yourself at this point when you're going out for 52 00:03:08,756 --> 00:03:09,116 Speaker 3: that long? 53 00:03:10,756 --> 00:03:12,876 Speaker 2: I think I could write a book about it. There's 54 00:03:12,956 --> 00:03:19,116 Speaker 2: a whole survival kit really of like comfort zone things 55 00:03:19,436 --> 00:03:23,716 Speaker 2: and practical survival things that you need to kind of 56 00:03:23,716 --> 00:03:27,516 Speaker 2: have with you, and skills that you develop when you're 57 00:03:27,716 --> 00:03:32,796 Speaker 2: not at home. So like you take one container that 58 00:03:32,956 --> 00:03:39,916 Speaker 2: has sharpies, scissors, gaffer's tape, some kind of string, and 59 00:03:39,996 --> 00:03:44,556 Speaker 2: then you know, some of those alligator clips and a 60 00:03:44,796 --> 00:03:49,876 Speaker 2: pillowcase so if the vent in the hotel room is 61 00:03:50,036 --> 00:03:55,076 Speaker 2: blasting cold air on you, you can clip the pillowcase 62 00:03:55,236 --> 00:04:01,316 Speaker 2: to the vent, take a call. There's stuff like that, 63 00:04:01,716 --> 00:04:05,996 Speaker 2: and an alligator clip also will close the curtains when 64 00:04:06,036 --> 00:04:10,236 Speaker 2: its broad daylight comes away too early in your room. Oh, 65 00:04:10,436 --> 00:04:14,876 Speaker 2: hair clamps also suffice. And then you if you have 66 00:04:14,876 --> 00:04:18,556 Speaker 2: a stinky room, you run the shower with the tub 67 00:04:18,676 --> 00:04:22,196 Speaker 2: closed so the water gathers the hot water with this 68 00:04:22,516 --> 00:04:25,956 Speaker 2: complimentary shampoo who were on in the bath with the 69 00:04:26,036 --> 00:04:29,116 Speaker 2: shower moist in the air and scent the room at 70 00:04:29,116 --> 00:04:29,716 Speaker 2: the same time. 71 00:04:30,436 --> 00:04:30,956 Speaker 3: Wow. 72 00:04:31,396 --> 00:04:34,396 Speaker 2: And if you get an extra pile of towels, you 73 00:04:34,436 --> 00:04:37,476 Speaker 2: can do all your laundry in cold water in the tub, 74 00:04:37,996 --> 00:04:40,156 Speaker 2: bring them out, rinse them in the tub, ring them 75 00:04:40,156 --> 00:04:43,556 Speaker 2: out again, and do the towel dance is what I 76 00:04:43,636 --> 00:04:47,796 Speaker 2: call when you lay the clothes and fold the towels 77 00:04:47,836 --> 00:04:50,916 Speaker 2: and do the dance on the towels, and then hang 78 00:04:51,036 --> 00:04:54,436 Speaker 2: the clothes in the room. And if you have a balcony, 79 00:04:54,516 --> 00:04:57,556 Speaker 2: even better because then they'll go fast. They'll drive faster. 80 00:04:58,156 --> 00:05:01,316 Speaker 2: Like college stuff, all the college stuff all works. You know, 81 00:05:02,156 --> 00:05:05,396 Speaker 2: if you ever went to university, which I did, all 82 00:05:05,396 --> 00:05:08,196 Speaker 2: of that stuff, like one little hot pot is pretty 83 00:05:08,236 --> 00:05:11,716 Speaker 2: much all. You had no refrigerator, you know, Yeah, you 84 00:05:11,796 --> 00:05:14,756 Speaker 2: had the window that kept things cooled outside, you know, 85 00:05:15,036 --> 00:05:15,756 Speaker 2: stuff like that. 86 00:05:16,636 --> 00:05:20,156 Speaker 3: I listened to your audio book Kicking and dreaming And 87 00:05:20,276 --> 00:05:22,516 Speaker 3: it was so great because you read the book. You 88 00:05:22,596 --> 00:05:26,196 Speaker 3: and Anne read the book. There was one section where 89 00:05:26,196 --> 00:05:30,196 Speaker 3: you were talking about meeting Paul McCartney. Uh huh, and 90 00:05:30,276 --> 00:05:32,756 Speaker 3: he was on stage talking to somebody else, and then 91 00:05:33,476 --> 00:05:35,436 Speaker 3: I guess you and Anne went up and started talking 92 00:05:35,476 --> 00:05:39,316 Speaker 3: to him, and he had this glazed over look in 93 00:05:39,356 --> 00:05:42,596 Speaker 3: his eye that I think Anne said reminded her of 94 00:05:42,716 --> 00:05:44,636 Speaker 3: just what happens when you're on the road for a 95 00:05:44,676 --> 00:05:45,716 Speaker 3: long period of time. 96 00:05:46,116 --> 00:05:48,436 Speaker 2: Yeah, oh yeah. 97 00:05:47,756 --> 00:05:49,836 Speaker 3: How do you get past that feeling? 98 00:05:50,596 --> 00:05:53,196 Speaker 2: How do you deglaze yourself? Yeah? 99 00:05:53,236 --> 00:05:55,676 Speaker 3: How do you manage that when you're just in the 100 00:05:55,716 --> 00:05:56,796 Speaker 3: middle of a long tour? 101 00:05:57,516 --> 00:06:00,396 Speaker 2: Well, you know, sleep is the key to the universe, 102 00:06:00,476 --> 00:06:06,116 Speaker 2: for one thing. You try to find quiet places and 103 00:06:06,276 --> 00:06:10,756 Speaker 2: moments to regroup and re gather because there's there can 104 00:06:10,836 --> 00:06:16,116 Speaker 2: be a lot of momentum and dramatic political drama inside 105 00:06:16,116 --> 00:06:19,596 Speaker 2: of the power structures that are traveling with you. You 106 00:06:19,596 --> 00:06:24,036 Speaker 2: know what usually happens on a big rock tour with 107 00:06:24,156 --> 00:06:28,436 Speaker 2: a lot of travel, a lot of finance involved, is 108 00:06:28,996 --> 00:06:31,836 Speaker 2: me and Anne are like in the eye of the hurricane, 109 00:06:31,916 --> 00:06:36,556 Speaker 2: where it's quiet and calm and peaceful together and our 110 00:06:36,636 --> 00:06:42,836 Speaker 2: humors intact and our initial relationship just it's just like 111 00:06:42,956 --> 00:06:48,116 Speaker 2: completely safe, but everything else is swirwing like the Dickens. 112 00:06:48,356 --> 00:06:51,316 Speaker 2: It's like the Twister movie where you see cows go 113 00:06:51,436 --> 00:06:54,636 Speaker 2: by and you know, there's go, there's the kitchen sing, 114 00:06:54,796 --> 00:06:58,716 Speaker 2: there's a house over there. You know, just the emotional 115 00:06:59,116 --> 00:07:03,556 Speaker 2: luggage that you kind of have to navigate through the 116 00:07:03,596 --> 00:07:08,076 Speaker 2: baggage and the chaos that can surround you. But we 117 00:07:08,156 --> 00:07:12,276 Speaker 2: do like to have a wellness room because we're gonna 118 00:07:12,316 --> 00:07:16,716 Speaker 2: be in lots of arenas which are basically locker rooms, yeah, 119 00:07:16,876 --> 00:07:19,996 Speaker 2: which you know, so you're gonna need something that smells 120 00:07:20,036 --> 00:07:24,236 Speaker 2: good in there, like some lavender spray or lavender spray, 121 00:07:24,436 --> 00:07:29,436 Speaker 2: some incense, and some good thick yoga mats and some 122 00:07:29,556 --> 00:07:33,556 Speaker 2: music and turning the fluorescence off and some put some 123 00:07:33,636 --> 00:07:37,036 Speaker 2: candles on and have a massage table in one room 124 00:07:37,076 --> 00:07:40,436 Speaker 2: and then have the workout stuff like the TRX and 125 00:07:40,476 --> 00:07:44,596 Speaker 2: the free weights and the pilates machine in the other 126 00:07:44,716 --> 00:07:48,836 Speaker 2: room so you can strengthen or you can you know, 127 00:07:48,876 --> 00:07:52,196 Speaker 2: go get bodywork, even if it's once in a while, 128 00:07:52,596 --> 00:07:55,596 Speaker 2: you know, just try to keep strong and keep centered 129 00:07:55,636 --> 00:07:55,956 Speaker 2: with it. 130 00:07:56,556 --> 00:07:58,316 Speaker 3: Last time you went out, I saw there's a couple 131 00:07:58,396 --> 00:08:01,236 Speaker 3: of dates on this tour with Deaf Leopard in Journey 132 00:08:01,996 --> 00:08:04,396 Speaker 3: and last time you went out with them, it sounds 133 00:08:04,396 --> 00:08:08,596 Speaker 3: like Deaf Leopard were just like party animals to an 134 00:08:08,596 --> 00:08:10,916 Speaker 3: extent that you weren't expecting because at that point they 135 00:08:10,916 --> 00:08:14,156 Speaker 3: were in their fifties and it sort of took you 136 00:08:14,196 --> 00:08:17,036 Speaker 3: a bash. Are you expecting more of that this tour? 137 00:08:18,556 --> 00:08:21,996 Speaker 2: They're older guys now, Like everybody has to slow down 138 00:08:22,036 --> 00:08:26,436 Speaker 2: their party activity, you know at a certain point. I mean, 139 00:08:26,516 --> 00:08:30,076 Speaker 2: for instance, you too have really slowed down because I've 140 00:08:30,076 --> 00:08:33,116 Speaker 2: partied with you too. One time it was like whoa, 141 00:08:33,436 --> 00:08:36,276 Speaker 2: where are what cities we land in on the private jet? 142 00:08:36,396 --> 00:08:39,796 Speaker 2: Oh wait, you thought it was Paris, No, it's Vegas. 143 00:08:39,836 --> 00:08:43,356 Speaker 2: You know, like stuff was going on. Everybody was drinking 144 00:08:43,396 --> 00:08:47,116 Speaker 2: like fish and smoking like sex. But you know, you 145 00:08:47,196 --> 00:08:50,116 Speaker 2: can't live like that when you're especially if you're a 146 00:08:50,116 --> 00:08:53,636 Speaker 2: little bit older. So you know, those dance cards have 147 00:08:53,716 --> 00:08:57,436 Speaker 2: been full for a while, so we I think even 148 00:08:57,996 --> 00:09:01,356 Speaker 2: I don't know, even def Lepper, I mean, you can't 149 00:09:01,516 --> 00:09:05,356 Speaker 2: actually go out and play and do it well if 150 00:09:05,396 --> 00:09:09,436 Speaker 2: you're just destructed from a party, right. I mean, art 151 00:09:09,476 --> 00:09:14,476 Speaker 2: actually plays everything live. We don't run tapes, as they say. 152 00:09:15,076 --> 00:09:17,556 Speaker 2: Our show doesn't come out out of a box like 153 00:09:17,676 --> 00:09:21,436 Speaker 2: most people do these days, which is not a just 154 00:09:21,556 --> 00:09:24,996 Speaker 2: mental comment on my part, but I guess we're just 155 00:09:25,076 --> 00:09:27,276 Speaker 2: kind of old school that way. We just really want 156 00:09:27,276 --> 00:09:31,276 Speaker 2: to feel the authenticity of the moment that only happens 157 00:09:31,796 --> 00:09:36,516 Speaker 2: that one particular time and there's nothing sort of canned 158 00:09:36,636 --> 00:09:40,036 Speaker 2: going on around it, you know, And even at the 159 00:09:40,116 --> 00:09:44,076 Speaker 2: expense of coming off really fallible and really human at 160 00:09:44,116 --> 00:09:48,956 Speaker 2: times where your voice doesn't exactly work right or you squeak, 161 00:09:49,156 --> 00:09:51,956 Speaker 2: you know, or you can't quite hit that note, or 162 00:09:52,796 --> 00:09:55,596 Speaker 2: or your fingers don't work too well or your finger's 163 00:09:55,676 --> 00:09:58,156 Speaker 2: hurt or whatever it is. You know, we just do 164 00:09:58,276 --> 00:10:00,676 Speaker 2: it like that because that's how we know how to 165 00:10:00,676 --> 00:10:03,916 Speaker 2: do it, you know. Like as a rock fan, if 166 00:10:03,956 --> 00:10:07,596 Speaker 2: I go see the Eagles, for example, and you could 167 00:10:07,596 --> 00:10:10,836 Speaker 2: tell some of the background vocal are sweetened, you know, 168 00:10:11,676 --> 00:10:13,916 Speaker 2: or if you go see Paul McCartney and some of 169 00:10:13,996 --> 00:10:17,436 Speaker 2: it's a little bit extra, you know, like the album 170 00:10:17,556 --> 00:10:22,196 Speaker 2: sounding and stuff like that, it doesn't really matter, you know, 171 00:10:22,596 --> 00:10:25,756 Speaker 2: there's no like shame in that. I think all that 172 00:10:25,876 --> 00:10:29,596 Speaker 2: really matters is how beloved these songs are and the 173 00:10:29,716 --> 00:10:33,836 Speaker 2: experience that people get from going all the way out 174 00:10:33,836 --> 00:10:36,476 Speaker 2: of their way to go and see you play those 175 00:10:36,516 --> 00:10:37,556 Speaker 2: songs that they love. 176 00:10:38,356 --> 00:10:39,996 Speaker 3: Are you the type of fan if you go see 177 00:10:39,996 --> 00:10:43,076 Speaker 3: someone like Paul McCartney, since you've loved the Beatles for 178 00:10:43,116 --> 00:10:46,916 Speaker 3: so long, do you want to hear him play all 179 00:10:46,956 --> 00:10:51,396 Speaker 3: the hits, all the early Beatles stuff, Wing stuff. Do 180 00:10:51,516 --> 00:10:53,476 Speaker 3: you kind of get a little bit disgruntled if he 181 00:10:53,516 --> 00:10:57,076 Speaker 3: starts to play a new song? Or because you're also 182 00:10:57,436 --> 00:11:00,236 Speaker 3: an artist and a performer, do you totally get that 183 00:11:00,316 --> 00:11:03,676 Speaker 3: and are you over supportive of that that new music moment? 184 00:11:04,196 --> 00:11:06,676 Speaker 2: I tend that's a good question. I tend to be 185 00:11:06,756 --> 00:11:10,716 Speaker 2: really overly supportive of anyone that you know, puts a 186 00:11:10,796 --> 00:11:14,236 Speaker 2: toe into the new material column, you know, in a 187 00:11:14,276 --> 00:11:17,596 Speaker 2: live show setting, especially when they have so many beloved 188 00:11:17,676 --> 00:11:20,876 Speaker 2: songs to do. And I went and saw Paul on 189 00:11:20,956 --> 00:11:25,196 Speaker 2: his eightieth roofday in San Francisco, and it was an 190 00:11:25,236 --> 00:11:29,276 Speaker 2: incredibly good show. And you know, he's ever the Paul. 191 00:11:29,476 --> 00:11:35,956 Speaker 2: He's dependable as the sun will rise. He's a genius songwriter. 192 00:11:36,556 --> 00:11:40,556 Speaker 2: But there's so many songs that over a very actually 193 00:11:40,636 --> 00:11:45,116 Speaker 2: pretty short period of time that became such landmark songs, 194 00:11:45,156 --> 00:11:49,156 Speaker 2: and even with Wings as well as with the Beatles, 195 00:11:49,436 --> 00:11:53,076 Speaker 2: but when he does something like Molofkin Tire or something 196 00:11:53,116 --> 00:11:57,516 Speaker 2: more rare like Happiness in the Homeland or you know, 197 00:11:57,676 --> 00:12:02,196 Speaker 2: love in Song or you know Tug of War. I mean, 198 00:12:02,236 --> 00:12:05,756 Speaker 2: I know all all of its songs deep cuts. So 199 00:12:05,876 --> 00:12:08,796 Speaker 2: that's kind of what I'm concentrating a little bit on 200 00:12:08,876 --> 00:12:13,516 Speaker 2: with this new lineup of players in this band. We 201 00:12:13,596 --> 00:12:17,036 Speaker 2: call Heart a couple of deep cuts, you know, to 202 00:12:17,116 --> 00:12:21,196 Speaker 2: put in our back pocket to keep the set list 203 00:12:21,996 --> 00:12:27,116 Speaker 2: from being always predictably the same, right, even for ourselves, 204 00:12:27,236 --> 00:12:30,116 Speaker 2: you know. Yeah, living on the edge, it's like, okay, 205 00:12:30,276 --> 00:12:32,276 Speaker 2: let's pull this one out. Oh my god, how does 206 00:12:32,356 --> 00:12:34,716 Speaker 2: that go? Again? Let's see how does that go? 207 00:12:35,876 --> 00:12:36,596 Speaker 3: Yeah? 208 00:12:36,756 --> 00:12:39,756 Speaker 2: You know, if you're worth your salt as a player, 209 00:12:39,876 --> 00:12:43,316 Speaker 2: a singer, songwriter, player, I think you can pretty much 210 00:12:43,956 --> 00:12:46,996 Speaker 2: get through even if you mess up a little bit. 211 00:12:47,556 --> 00:12:50,316 Speaker 2: You can have fun with it and make it work. 212 00:12:50,916 --> 00:12:56,436 Speaker 2: And people kind of appreciate the imperfections, even maybe a 213 00:12:56,476 --> 00:13:01,076 Speaker 2: little bit more than they appreciate something that's absolutely perfect. 214 00:13:01,836 --> 00:13:04,996 Speaker 3: I was curious about your decision to play rhythm guitar 215 00:13:05,236 --> 00:13:09,316 Speaker 3: rather than lead guitar, and if gender had anything to 216 00:13:09,396 --> 00:13:12,956 Speaker 3: do with that decision early on, and if you still 217 00:13:12,996 --> 00:13:15,796 Speaker 3: feel like, yeah, I'm a rhythm guitar player to the death. 218 00:13:17,396 --> 00:13:19,716 Speaker 2: Well, I mean I've been known to step out play 219 00:13:20,556 --> 00:13:23,036 Speaker 2: little bit of lead here and there on records and 220 00:13:23,076 --> 00:13:27,276 Speaker 2: in live settings, and I toss in little I don't know, 221 00:13:27,396 --> 00:13:30,436 Speaker 2: shred moments here and there. But I'm more like a 222 00:13:30,476 --> 00:13:36,156 Speaker 2: Pete Townsend at my center. I'm an accompanist as a songwriter, 223 00:13:36,796 --> 00:13:41,636 Speaker 2: so I approached my playing like a songwriter. So I'm 224 00:13:41,676 --> 00:13:45,716 Speaker 2: accompanying the lyrics and the melody for the song. So 225 00:13:45,756 --> 00:13:49,156 Speaker 2: it's the structure of the song that interests me more 226 00:13:49,236 --> 00:13:53,636 Speaker 2: than the embellishing and kind of the frosting on top, 227 00:13:53,836 --> 00:13:56,956 Speaker 2: you know. So for me, that's the meat and potatoes. 228 00:13:57,036 --> 00:14:02,956 Speaker 2: That's the real, you know, essence. And you can add 229 00:14:02,996 --> 00:14:06,916 Speaker 2: all the extra stuff, which is fun to do. And 230 00:14:06,996 --> 00:14:09,276 Speaker 2: I'm not a horrible league player. I just don't do 231 00:14:09,316 --> 00:14:13,276 Speaker 2: it that often because I'm more a building block song 232 00:14:13,356 --> 00:14:17,556 Speaker 2: person in the way of play. But yeah, but I've 233 00:14:17,596 --> 00:14:23,036 Speaker 2: always thought as a woman playing guitar, there's so many 234 00:14:23,076 --> 00:14:25,996 Speaker 2: women right now that are younger women coming out that 235 00:14:26,036 --> 00:14:30,356 Speaker 2: are just shredders, like Grace Bauers for example. I don't 236 00:14:30,356 --> 00:14:33,436 Speaker 2: know if you've seen her on like Instagram or whatever, 237 00:14:33,516 --> 00:14:39,316 Speaker 2: but She is kind of a Clapton type shredder. She's 238 00:14:39,356 --> 00:14:44,516 Speaker 2: a blues player who plays instead of for the quantity 239 00:14:44,596 --> 00:14:48,436 Speaker 2: of notes, she plays for the quality of the expression 240 00:14:49,116 --> 00:14:52,236 Speaker 2: of the notes that she chooses that sound more like 241 00:14:52,396 --> 00:14:56,396 Speaker 2: sentences than you know, show off stuff. 242 00:14:57,196 --> 00:14:59,676 Speaker 3: I was surprised when I listened back to Dreamboat Annie, 243 00:15:00,036 --> 00:15:02,116 Speaker 3: which is turning fifty. 244 00:15:01,796 --> 00:15:03,276 Speaker 2: Next year next year. 245 00:15:03,916 --> 00:15:06,916 Speaker 3: There's so much musical interplay on the songs. It's not 246 00:15:07,116 --> 00:15:10,116 Speaker 3: just straightforward at all, and there's a lot of communication 247 00:15:10,236 --> 00:15:11,516 Speaker 3: between the two guitars. 248 00:15:12,156 --> 00:15:12,476 Speaker 2: Right. 249 00:15:12,916 --> 00:15:15,716 Speaker 3: Was that something that was intentional from the beginning or 250 00:15:15,756 --> 00:15:17,796 Speaker 3: did that just happen in jams? 251 00:15:18,396 --> 00:15:21,316 Speaker 2: Well, I guess I would say both. I mean all 252 00:15:21,356 --> 00:15:25,276 Speaker 2: of the above. It's intentional to try to have a 253 00:15:25,356 --> 00:15:29,796 Speaker 2: dialogue with another guitar player, a rhythm and a lead player, 254 00:15:30,716 --> 00:15:34,436 Speaker 2: which you hear a lot of that on Dreambani the album. 255 00:15:35,276 --> 00:15:38,316 Speaker 2: And at that point it was Howard Lease and Roger Fisher, 256 00:15:38,796 --> 00:15:41,956 Speaker 2: two really great players that I got to sort of 257 00:15:41,996 --> 00:15:45,116 Speaker 2: cut my teeth, you know, my rock and roll live 258 00:15:45,516 --> 00:15:50,236 Speaker 2: club band kind of recording first recording session teeth with 259 00:15:51,236 --> 00:15:55,956 Speaker 2: the era we came from to the late sixties. By 260 00:15:55,996 --> 00:15:58,876 Speaker 2: this point, we're releasing our first album in the mid 261 00:15:58,956 --> 00:16:03,636 Speaker 2: seventies and seventy five, so we had all of that 262 00:16:04,156 --> 00:16:08,156 Speaker 2: imprint From the late sixties, the Mind expanded sort of 263 00:16:08,396 --> 00:16:13,476 Speaker 2: epic length songs and you know, tales of great Ulysses 264 00:16:13,556 --> 00:16:17,276 Speaker 2: kind of stuff out there, and you know, like sticks 265 00:16:17,476 --> 00:16:23,076 Speaker 2: and Rush and yes, you know and Heart. A lot 266 00:16:23,116 --> 00:16:28,876 Speaker 2: of conceptualizing going on and yeah, you know, significance and 267 00:16:28,956 --> 00:16:33,836 Speaker 2: depthy symbolism and stuff like that before cocaine, you know, 268 00:16:34,156 --> 00:16:36,476 Speaker 2: before it cut all ego driven later. 269 00:16:37,516 --> 00:16:41,516 Speaker 3: Yeah, I was going to say that feels very LSD esque. 270 00:16:41,716 --> 00:16:46,676 Speaker 2: Very mind expanded from that era. So we were really 271 00:16:47,196 --> 00:16:49,356 Speaker 2: starting out with the first album, I think. 272 00:16:49,316 --> 00:16:58,396 Speaker 4: Really naive and doggedly determined, workmanlike about getting something very 273 00:16:58,436 --> 00:17:03,156 Speaker 4: important recorded onto a vinyl disc, you know, and this 274 00:17:03,356 --> 00:17:06,116 Speaker 4: might be our only chance to be heard. 275 00:17:06,556 --> 00:17:11,236 Speaker 2: And it was really cool because it worked. I mean, 276 00:17:11,796 --> 00:17:14,916 Speaker 2: just over my last weekend, I was having a birthday 277 00:17:15,716 --> 00:17:20,116 Speaker 2: weekend at this beautiful beach in Oregon on the Oregon 278 00:17:20,236 --> 00:17:23,876 Speaker 2: coast with my friend Sue Ennis that we did a 279 00:17:23,876 --> 00:17:27,316 Speaker 2: whole bunch of songwriting with. And we have a project 280 00:17:27,476 --> 00:17:31,796 Speaker 2: We've been digging through old cassettes for an old CDs 281 00:17:32,276 --> 00:17:37,036 Speaker 2: for like a rarity project that We're just digging out 282 00:17:37,196 --> 00:17:41,956 Speaker 2: with gems and morsels and hysterical little bits and song 283 00:17:42,036 --> 00:17:46,516 Speaker 2: pieces and songwriting jams that turned into other songs that 284 00:17:46,636 --> 00:17:50,636 Speaker 2: would be familiar someday. Stuff like that, and we had 285 00:17:50,636 --> 00:17:56,356 Speaker 2: the blast of all blasts. But listening to a lot 286 00:17:56,356 --> 00:17:59,676 Speaker 2: of those cassette tapes, you could hear Soul of the 287 00:17:59,756 --> 00:18:03,596 Speaker 2: Sea forming, You could hear you know, even It Up, 288 00:18:03,676 --> 00:18:07,396 Speaker 2: the beginnings of Even It Up coming together. And also 289 00:18:07,556 --> 00:18:11,756 Speaker 2: we found the mother load of like Heart when they 290 00:18:11,756 --> 00:18:14,356 Speaker 2: were called before I joined Heart, when they were called 291 00:18:14,876 --> 00:18:19,516 Speaker 2: hocus Pocus in a club called oil Can Harry's in Vancouver. 292 00:18:19,596 --> 00:18:24,156 Speaker 2: Received there's these real surreal tapes that the sound man 293 00:18:24,316 --> 00:18:27,796 Speaker 2: used to get of the live performance to listen back 294 00:18:27,836 --> 00:18:32,316 Speaker 2: and critique from like a ball team, you know. So yeah, 295 00:18:32,676 --> 00:18:36,076 Speaker 2: so there's like a bunch of covers that we used 296 00:18:36,116 --> 00:18:39,396 Speaker 2: to do, you know, a bunch of David Bowie's songs, 297 00:18:39,436 --> 00:18:42,756 Speaker 2: a bunch of deep purple. It's like, oh my god. 298 00:18:42,996 --> 00:18:47,316 Speaker 2: It reminded me how hard those club days were because 299 00:18:47,436 --> 00:18:49,556 Speaker 2: you really had a lot of time to fill and 300 00:18:50,196 --> 00:18:54,116 Speaker 2: probably close to you know, I don't know, five hours 301 00:18:54,116 --> 00:18:57,516 Speaker 2: of music and banter. You really had a lot of 302 00:18:57,516 --> 00:19:03,316 Speaker 2: time to fill and entertainment to provide. 303 00:19:03,516 --> 00:19:04,876 Speaker 1: We have to take a quick break and then we 304 00:19:05,036 --> 00:19:12,676 Speaker 1: back with more from Nancy Wilson and Leah Rose. We're 305 00:19:12,716 --> 00:19:15,036 Speaker 1: back with Lea Rose and Nancy Wilson. 306 00:19:16,116 --> 00:19:18,596 Speaker 3: I was asking Anne about the time in the book 307 00:19:18,596 --> 00:19:21,356 Speaker 3: you talked about there's a period of time where you 308 00:19:21,436 --> 00:19:25,156 Speaker 3: both would hang out with Stevie Nicks. Yeah, especially in 309 00:19:25,156 --> 00:19:28,196 Speaker 3: the seventies when the big Fleetwood Mac albums were coming out. 310 00:19:28,836 --> 00:19:32,316 Speaker 3: I was just curious about the relationship between Heart and 311 00:19:32,516 --> 00:19:35,516 Speaker 3: Fleetwood Mac, and it sounds like you came together more 312 00:19:35,676 --> 00:19:37,716 Speaker 3: in the eighties to hang out. 313 00:19:38,036 --> 00:19:43,756 Speaker 2: Yeah, they were kind of happening right before us, kind 314 00:19:43,756 --> 00:19:46,836 Speaker 2: of as Hart was just starting to tiptoe into the scene, 315 00:19:47,476 --> 00:19:51,116 Speaker 2: and they already had rumors out there, and we were 316 00:19:51,156 --> 00:19:54,476 Speaker 2: just trying so hard to make an album and get 317 00:19:54,516 --> 00:19:57,036 Speaker 2: out there and get a tour or whatever, and they 318 00:19:57,076 --> 00:20:00,316 Speaker 2: were all over the radio, and you know, I felt 319 00:20:00,356 --> 00:20:03,996 Speaker 2: so jealous of that band because there were two women 320 00:20:04,076 --> 00:20:08,076 Speaker 2: in it. It sounded so good together, and they had 321 00:20:08,076 --> 00:20:10,636 Speaker 2: the acoustic guitar kind of thing that I felt like 322 00:20:10,676 --> 00:20:15,196 Speaker 2: I was bringing a lot of into our band. They 323 00:20:15,276 --> 00:20:17,596 Speaker 2: kind of had it already, you know, like something we 324 00:20:17,596 --> 00:20:20,676 Speaker 2: were trying to capture. They had already captured it. So 325 00:20:20,756 --> 00:20:24,236 Speaker 2: I was really like, damn it, what makes us so 326 00:20:24,396 --> 00:20:28,516 Speaker 2: different now? You know? But we did sound very different. 327 00:20:28,676 --> 00:20:30,716 Speaker 2: I mean a lot of it's Anne's voice, you know, 328 00:20:30,996 --> 00:20:35,076 Speaker 2: very signature. You know, the muscle and the power that 329 00:20:35,156 --> 00:20:41,836 Speaker 2: she possesses and the way she sings is completely its 330 00:20:41,836 --> 00:20:46,396 Speaker 2: own things. So lucky for us we had Anne, not 331 00:20:46,556 --> 00:20:49,996 Speaker 2: just it know was soft rock. We had hard rock, 332 00:20:50,756 --> 00:20:54,436 Speaker 2: so we could rock very hard and as quietly as well. 333 00:20:54,636 --> 00:20:59,076 Speaker 2: So we probably had a lot more maybe versatility or something. 334 00:21:00,236 --> 00:21:02,996 Speaker 3: Yeah, I was surprised. I asked Anne about her voice 335 00:21:02,996 --> 00:21:05,756 Speaker 3: and she I asked her when she first realized that 336 00:21:05,836 --> 00:21:08,436 Speaker 3: her voice was so powerful, and she said that she 337 00:21:08,476 --> 00:21:10,396 Speaker 3: didn't think voice was very powerful. 338 00:21:11,156 --> 00:21:15,156 Speaker 2: Yeah, her confidence is hard for her to she's she's 339 00:21:15,156 --> 00:21:19,276 Speaker 2: hard on herself. But when she was a kid, a 340 00:21:19,436 --> 00:21:23,476 Speaker 2: kid kid, and I was maybe nine or eight, we 341 00:21:23,476 --> 00:21:26,476 Speaker 2: were all bunch of Hams, always singing harmonies into the 342 00:21:26,516 --> 00:21:30,436 Speaker 2: family and you know, she would do ethel mermon. She 343 00:21:30,476 --> 00:21:36,876 Speaker 2: would do this no business like show and she could 344 00:21:37,396 --> 00:21:41,436 Speaker 2: just build it like this little kid and our parents 345 00:21:41,516 --> 00:21:44,636 Speaker 2: would be like girls, girls, come on down the stairs, 346 00:21:44,636 --> 00:21:48,796 Speaker 2: you know, and your ethel murmon. So She would just 347 00:21:49,036 --> 00:21:51,636 Speaker 2: you know, blow the people's minds in the living room, 348 00:21:51,716 --> 00:21:55,796 Speaker 2: and she just had this facility, you know, she just 349 00:21:55,836 --> 00:21:59,156 Speaker 2: had these has these pipes that a few people have. 350 00:22:00,116 --> 00:22:01,316 Speaker 2: It's God given. 351 00:22:02,396 --> 00:22:05,076 Speaker 3: Do you think of both your gift as a songwriter, 352 00:22:05,196 --> 00:22:10,396 Speaker 3: a player, a writer AND's voice and gift as a writer. 353 00:22:11,116 --> 00:22:12,836 Speaker 3: Where does that come from in your mind? 354 00:22:14,036 --> 00:22:19,156 Speaker 2: Oh? Well, I think the gift, the music gift comes 355 00:22:19,196 --> 00:22:22,676 Speaker 2: from our parents and our grandparents and our aunts and 356 00:22:22,716 --> 00:22:28,316 Speaker 2: our uncles. Our grandpa was the Irish tenor in the 357 00:22:28,396 --> 00:22:32,836 Speaker 2: local church choir, and both of our mom and dad 358 00:22:32,876 --> 00:22:36,396 Speaker 2: were met in choir when they decided they loved each other. 359 00:22:36,516 --> 00:22:41,436 Speaker 2: And my dad was a singer in a barbershop quartet, 360 00:22:41,516 --> 00:22:47,156 Speaker 2: and my mom was in various ensemble choirs and big choirs, 361 00:22:47,196 --> 00:22:49,956 Speaker 2: and all of us grew up with choirs and choirs 362 00:22:49,956 --> 00:22:52,716 Speaker 2: and harmony, singing in the car on the way to grandma's. 363 00:22:53,356 --> 00:22:57,276 Speaker 2: You know, I think it's generational in our family and 364 00:22:57,476 --> 00:22:59,996 Speaker 2: the love of music and listening to music and Ray 365 00:23:00,116 --> 00:23:03,436 Speaker 2: Charles and Aretha Franklin. We always had a record player, 366 00:23:03,716 --> 00:23:07,516 Speaker 2: you know, and we learned a lot of albums by 367 00:23:07,596 --> 00:23:14,556 Speaker 2: Heart and Harry Bellefonte, Peggy Lee and Judy Garland and 368 00:23:14,676 --> 00:23:18,356 Speaker 2: all of those great singers from that era. We were 369 00:23:18,396 --> 00:23:23,116 Speaker 2: always singing along. Every Christmas. We had the same like 370 00:23:23,836 --> 00:23:27,156 Speaker 2: Big Benjamin Britain Corral going on, and we'd sing in 371 00:23:27,196 --> 00:23:29,916 Speaker 2: the house and decorate the tree singing in the house, 372 00:23:29,956 --> 00:23:33,716 Speaker 2: you know. And you hear about those families, I guess 373 00:23:33,716 --> 00:23:37,556 Speaker 2: we were one of them. Like the Beg's family. They 374 00:23:37,596 --> 00:23:43,476 Speaker 2: were all singing the Jacksons. So it comes really naturally. 375 00:23:43,516 --> 00:23:46,796 Speaker 2: It comes very honestly to both of us, you know, 376 00:23:46,836 --> 00:23:47,956 Speaker 2: from the inside out. 377 00:23:48,356 --> 00:23:50,516 Speaker 3: Oh yeah, and you can feel that too. 378 00:23:50,996 --> 00:23:56,076 Speaker 2: No, it's true. I feel driven by it still, whether 379 00:23:56,156 --> 00:24:00,476 Speaker 2: or not something's happening or going on, or successful or 380 00:24:00,516 --> 00:24:04,916 Speaker 2: not successful. I feel driven to do music and create music, 381 00:24:05,196 --> 00:24:09,756 Speaker 2: write music, play music. And it's like a destiny, you know, 382 00:24:09,996 --> 00:24:15,516 Speaker 2: feeling of destiny because it's what your cellular memory knows. 383 00:24:16,876 --> 00:24:19,276 Speaker 3: When you talk about the eighties now, or when you 384 00:24:19,316 --> 00:24:23,756 Speaker 3: think about the eighties and the first formation of Heart 385 00:24:23,916 --> 00:24:27,276 Speaker 3: started to sort of disintegrate and new players came in. 386 00:24:28,316 --> 00:24:32,756 Speaker 3: You were signed to Capitol Records. They started bringing songwriters in. 387 00:24:33,796 --> 00:24:36,916 Speaker 3: How devastating was that to you and Anne at the time. 388 00:24:37,516 --> 00:24:41,596 Speaker 2: Well, we were kind of victims of longevity in a 389 00:24:41,636 --> 00:24:46,436 Speaker 2: certain way because the styles changes and you wanted to 390 00:24:46,476 --> 00:24:52,636 Speaker 2: not change that much. The mind expanded perspective was turning 391 00:24:52,716 --> 00:24:56,756 Speaker 2: into a cocaine perspective, which was a little more money 392 00:24:57,036 --> 00:25:02,076 Speaker 2: ego sort of driven. Therefore, you know, a stable of 393 00:25:02,276 --> 00:25:07,996 Speaker 2: LA's hit songwriters were employed in tandem with these record 394 00:25:08,036 --> 00:25:12,316 Speaker 2: companies to create the formulaa hits that were expected of 395 00:25:12,396 --> 00:25:15,636 Speaker 2: the time and those big power ballads and you know, 396 00:25:15,716 --> 00:25:20,636 Speaker 2: hairband music and so so we were like reluctantly kind 397 00:25:20,716 --> 00:25:25,436 Speaker 2: of going along for survivals reasons and writing our own 398 00:25:25,436 --> 00:25:29,276 Speaker 2: stuff meanwhile, you know, but we were kind of irritated 399 00:25:29,316 --> 00:25:33,596 Speaker 2: with the whole atmosphere of that. The weather system just 400 00:25:33,636 --> 00:25:36,756 Speaker 2: felt wrong to us, you know, around all of that 401 00:25:37,516 --> 00:25:41,476 Speaker 2: image making type of stuff, because we were cool, kind 402 00:25:41,516 --> 00:25:45,196 Speaker 2: of apple cheek girls from Seattle without makeup when we 403 00:25:45,276 --> 00:25:48,316 Speaker 2: first started, and then it was all about the artifice 404 00:25:48,396 --> 00:25:51,636 Speaker 2: and what you can wear and how much your jacket's 405 00:25:51,636 --> 00:25:53,716 Speaker 2: going it's going to cost as much as a car. 406 00:25:53,796 --> 00:25:57,276 Speaker 2: You know, like that's not important. It was never important 407 00:25:57,276 --> 00:26:00,316 Speaker 2: to us, and so we muddled through pretty good in 408 00:26:00,356 --> 00:26:02,996 Speaker 2: the eighties because we got a couple of really gorgeous 409 00:26:03,036 --> 00:26:08,436 Speaker 2: songs out of that time, like like these Dreams and Alone, 410 00:26:09,356 --> 00:26:12,796 Speaker 2: What About Love, and a few more. They're just gorgeous, 411 00:26:13,796 --> 00:26:18,516 Speaker 2: well written, structured pieces of music that we still enjoy 412 00:26:18,596 --> 00:26:21,996 Speaker 2: doing today, you know. So if that's the booty that 413 00:26:22,036 --> 00:26:25,596 Speaker 2: we snuck out of the eighties, then it's well worth it. 414 00:26:26,756 --> 00:26:29,556 Speaker 3: How have you changed the arrangements on some of those songs? 415 00:26:29,596 --> 00:26:31,916 Speaker 3: Have you tried to take them away from their power 416 00:26:31,996 --> 00:26:33,996 Speaker 3: ballad beginnings? 417 00:26:34,556 --> 00:26:38,636 Speaker 2: Oh? Yeah, A good song you could do almost any way. 418 00:26:39,076 --> 00:26:41,956 Speaker 2: I mean you could do Alone on a ukulele, you know, 419 00:26:42,876 --> 00:26:44,756 Speaker 2: because it's a good song and it has a good 420 00:26:45,436 --> 00:26:49,156 Speaker 2: shape to it, whether or not it's in a big format, 421 00:26:49,236 --> 00:26:53,276 Speaker 2: a bombastic sounding format, or if it's just an acoustic 422 00:26:53,316 --> 00:26:57,556 Speaker 2: guitar or piano. With these Dreams in particular, it's an 423 00:26:57,636 --> 00:27:03,516 Speaker 2: oddball song. This changed different keys. I played it on mandolin, 424 00:27:04,156 --> 00:27:07,316 Speaker 2: we do it with keyboards and percussion, and then we 425 00:27:07,436 --> 00:27:13,596 Speaker 2: do it just acoustic on it, different keys, different arrangements. 426 00:27:14,196 --> 00:27:18,396 Speaker 2: You know. The song's really flexible that way. And Alone 427 00:27:18,436 --> 00:27:22,116 Speaker 2: we've sort of we merged Alone into what About Love 428 00:27:22,396 --> 00:27:26,396 Speaker 2: at the guitar solo, which really worked well. So there's 429 00:27:26,476 --> 00:27:30,476 Speaker 2: just ways to yeah, just try new versions out so 430 00:27:30,516 --> 00:27:33,716 Speaker 2: that you're not so it's not just the album, you know. 431 00:27:34,436 --> 00:27:37,076 Speaker 3: Was These Dreams originally written for Stevie Nicks. 432 00:27:37,676 --> 00:27:42,596 Speaker 2: Yeah, Verdie Topin told me that once. He said, actually, 433 00:27:42,676 --> 00:27:47,436 Speaker 2: Stevie Nicks rejected this song first, and they thought about 434 00:27:47,476 --> 00:27:51,276 Speaker 2: it for her because if it's very diatheanous and mysterious, 435 00:27:51,316 --> 00:27:57,476 Speaker 2: and you know, it's very gauzy sounding, and she rejected 436 00:27:57,476 --> 00:28:00,556 Speaker 2: it because she was not taking outside material, thank you 437 00:28:00,676 --> 00:28:03,876 Speaker 2: very much. And a lot of people were at the 438 00:28:03,956 --> 00:28:09,036 Speaker 2: time and she wasn't. And I respect that a lot 439 00:28:09,836 --> 00:28:12,516 Speaker 2: that she wasn't doing that. And it's not easy to 440 00:28:12,516 --> 00:28:17,716 Speaker 2: write a song that fits the fashion of the current 441 00:28:18,436 --> 00:28:22,516 Speaker 2: radio program either. So we gave, you know, we gave 442 00:28:22,556 --> 00:28:24,636 Speaker 2: a lot of songs a good try. When we were 443 00:28:25,716 --> 00:28:28,716 Speaker 2: I was at the beach with Sue listening to cassettes. 444 00:28:29,396 --> 00:28:32,516 Speaker 2: There were some real turkeys, I mean, a lot of 445 00:28:32,556 --> 00:28:40,316 Speaker 2: really bombastic ballad stranges of the Wold. You know. It's like, 446 00:28:44,796 --> 00:28:50,316 Speaker 2: you know, like a bunch of very righteous sounding marching songs, 447 00:28:50,396 --> 00:28:56,556 Speaker 2: kind of either marching rock songs or bombastic ballads with 448 00:28:56,596 --> 00:28:58,756 Speaker 2: a lot of gated echo on the snare trum. 449 00:29:00,236 --> 00:29:04,796 Speaker 5: We were like, oh, we us I think are head 450 00:29:04,836 --> 00:29:10,316 Speaker 5: and shite because we were we were obviously trying really 451 00:29:10,356 --> 00:29:15,236 Speaker 5: hard to keep up with the stable of la songwriter. 452 00:29:16,316 --> 00:29:20,676 Speaker 2: Like the formulaic stuff is what we never could get right, 453 00:29:20,836 --> 00:29:24,836 Speaker 2: you know. So the biggest global hit song was All 454 00:29:24,836 --> 00:29:27,116 Speaker 2: I Want to Do Is make Love to You by 455 00:29:27,196 --> 00:29:30,916 Speaker 2: Mutt Lang. Right. We recorded it and it was a 456 00:29:31,036 --> 00:29:34,036 Speaker 2: huge smash and it was all over the world. Oh, 457 00:29:34,076 --> 00:29:38,396 Speaker 2: I remember it was banned in Ireland, you know, because 458 00:29:38,396 --> 00:29:41,316 Speaker 2: of the reverse sexism of it. But we were kind 459 00:29:41,316 --> 00:29:43,516 Speaker 2: of proud of the fact that it was banned in Ireland. 460 00:29:43,916 --> 00:29:46,556 Speaker 2: That's just the one that just never felt like a 461 00:29:46,596 --> 00:29:51,276 Speaker 2: heart song exactly. It's a great track. It sounds genius 462 00:29:51,316 --> 00:29:54,876 Speaker 2: on the radio, but it was never for Anne as 463 00:29:54,876 --> 00:29:58,516 Speaker 2: a lead singer too, who has to sell what she's 464 00:29:58,556 --> 00:30:02,956 Speaker 2: talking about in those lyrics of the song. It's really 465 00:30:03,036 --> 00:30:08,436 Speaker 2: kind of more like a country story song. It's more 466 00:30:08,596 --> 00:30:12,316 Speaker 2: like that. Yeah, it's not a real rock song per se. 467 00:30:13,196 --> 00:30:15,276 Speaker 3: And I know Hart used to jam with a lot 468 00:30:15,276 --> 00:30:18,956 Speaker 3: of musicians off stage and you can together have parties 469 00:30:19,116 --> 00:30:23,076 Speaker 3: and sometimes at Ann's house later in Seattle, and it 470 00:30:23,156 --> 00:30:26,716 Speaker 3: really reminded me of the stories of your family early 471 00:30:26,796 --> 00:30:30,196 Speaker 3: on when you would have the hoot Nannies together, right, 472 00:30:30,636 --> 00:30:34,316 Speaker 3: you know, totally were there any jams from that early 473 00:30:34,396 --> 00:30:37,116 Speaker 3: era or any musicians that you've played with that really 474 00:30:37,156 --> 00:30:37,756 Speaker 3: stand out. 475 00:30:39,276 --> 00:30:43,956 Speaker 2: Definitely one of my favorite moments of coming back out 476 00:30:43,956 --> 00:30:47,756 Speaker 2: of the eighties back to Seattle in the early nineties 477 00:30:48,236 --> 00:30:51,356 Speaker 2: with our tail between our legs basically, you know, having 478 00:30:52,356 --> 00:30:56,316 Speaker 2: been kind of gristed for the MTV mill there and 479 00:30:56,756 --> 00:31:01,596 Speaker 2: the Seattle explosion was really cool. Suddenly it was really 480 00:31:01,636 --> 00:31:05,396 Speaker 2: good music and guitars were back again, and all the 481 00:31:05,476 --> 00:31:09,996 Speaker 2: layer cake production was blasted out of the water, like 482 00:31:10,156 --> 00:31:14,516 Speaker 2: you know, smells like teen Spirit was like it. That 483 00:31:14,716 --> 00:31:18,356 Speaker 2: was the flash mob moment in the culture where the 484 00:31:18,396 --> 00:31:24,436 Speaker 2: eighties was definitely over, just instantly over, and you know, 485 00:31:25,316 --> 00:31:29,716 Speaker 2: like eighties kind of power ballot bands that had a 486 00:31:29,796 --> 00:31:32,916 Speaker 2: number one hit the week before were dropped from their 487 00:31:32,996 --> 00:31:35,956 Speaker 2: label that day. You know, it was just that that 488 00:31:36,196 --> 00:31:40,196 Speaker 2: exact like it was a surgical strike of rock and 489 00:31:40,316 --> 00:31:43,476 Speaker 2: roll into the culture that made that happen. It was 490 00:31:43,516 --> 00:31:48,716 Speaker 2: so so such a relief to us after coming out 491 00:31:48,756 --> 00:31:52,836 Speaker 2: of that. And we had a party at Ann's house 492 00:31:53,396 --> 00:31:56,476 Speaker 2: after we all kind of met each other because one 493 00:31:56,476 --> 00:32:00,356 Speaker 2: of my oldest friends was managing Pearl Jam. He managed 494 00:32:00,356 --> 00:32:04,916 Speaker 2: them forever. My friend Kelly Curtis still my best friend, 495 00:32:05,076 --> 00:32:09,636 Speaker 2: and they all got together at some of the house 496 00:32:09,676 --> 00:32:13,276 Speaker 2: around Andy Woods, who had just had odd from Mother 497 00:32:13,396 --> 00:32:16,916 Speaker 2: Love Pone, who are then going to find Eddie Vedder 498 00:32:16,916 --> 00:32:20,396 Speaker 2: and become pro jam So the whole community came together 499 00:32:20,476 --> 00:32:23,396 Speaker 2: and we showed up to meet everyone kind of at 500 00:32:23,396 --> 00:32:27,076 Speaker 2: this one big party, and we brought all of our 501 00:32:27,196 --> 00:32:30,596 Speaker 2: dogs and everybody was crying and laughing and petting dogs 502 00:32:30,636 --> 00:32:34,596 Speaker 2: and playing guitars. And then the next time we got 503 00:32:34,636 --> 00:32:37,996 Speaker 2: together was at Ann's house and I ended up jamming 504 00:32:37,996 --> 00:32:41,956 Speaker 2: with Jerry Cantrell, like cross legged in a corner and 505 00:32:41,996 --> 00:32:44,996 Speaker 2: She's like, how I play the beginning of Mister all Wind? 506 00:32:45,596 --> 00:32:50,156 Speaker 2: And I'm like, okay, that was like the best words 507 00:32:50,196 --> 00:32:53,316 Speaker 2: I could have heard out of somebody that cool asking 508 00:32:53,396 --> 00:32:57,316 Speaker 2: me that at that moment, because I got to feel 509 00:32:57,356 --> 00:33:01,196 Speaker 2: cool again, like yeah, as like a musician should be 510 00:33:01,236 --> 00:33:05,636 Speaker 2: able to feel in their hometown and not shamed by 511 00:33:06,756 --> 00:33:11,076 Speaker 2: the new generation of people pushing back against the hair 512 00:33:11,196 --> 00:33:14,396 Speaker 2: bands of the eighties and so so you know, that 513 00:33:14,716 --> 00:33:18,916 Speaker 2: meant everything met the world to me and we're still tight. 514 00:33:19,316 --> 00:33:22,676 Speaker 2: As a matter of fact, Stone Gossard in Petal Time 515 00:33:23,276 --> 00:33:27,716 Speaker 2: he actually ended up buying a house from Anne at 516 00:33:27,716 --> 00:33:32,396 Speaker 2: the beach in Oregon that I was just at last weekend, 517 00:33:32,876 --> 00:33:36,636 Speaker 2: and the and Sue Mines were blown like we were 518 00:33:36,636 --> 00:33:41,396 Speaker 2: here in our twenties writing Barracuda stuff, you know, and 519 00:33:41,436 --> 00:33:44,836 Speaker 2: listening through the history of us doing that there in 520 00:33:44,876 --> 00:33:48,476 Speaker 2: this beautiful location where we always used to go for 521 00:33:49,236 --> 00:33:54,596 Speaker 2: ultimate hideout. So it was really an amazing time to 522 00:33:54,876 --> 00:33:57,036 Speaker 2: come back to Seattle in the nineties and then be 523 00:33:57,116 --> 00:34:00,996 Speaker 2: so well brought into the fold like that. It meant 524 00:34:00,996 --> 00:34:02,316 Speaker 2: the world. 525 00:34:01,836 --> 00:34:04,756 Speaker 3: I loved in the book. You were saying that Seattle 526 00:34:05,276 --> 00:34:08,796 Speaker 3: musicians they won't bullshit you. If they don't like something, 527 00:34:08,876 --> 00:34:10,676 Speaker 3: they'll tell you. They're not just going to kind of 528 00:34:10,756 --> 00:34:14,556 Speaker 3: kiss up to you because you're already established. They'll say like, no, 529 00:34:14,716 --> 00:34:15,996 Speaker 3: actually that kind of sucked. 530 00:34:16,556 --> 00:34:19,996 Speaker 2: No, that's really true. They're not looking to be anti 531 00:34:20,156 --> 00:34:24,316 Speaker 2: everything either. They're being honest. And it's a great thing 532 00:34:24,396 --> 00:34:29,076 Speaker 2: about that community. That missed community in Seattle. I mean, 533 00:34:29,156 --> 00:34:34,716 Speaker 2: people in program are really truly friends. They are there 534 00:34:34,716 --> 00:34:39,756 Speaker 2: for each other. Kelly would Curtis would take his office 535 00:34:40,316 --> 00:34:43,276 Speaker 2: employees and the band all out on retreats out of 536 00:34:43,356 --> 00:34:46,876 Speaker 2: the Oregon coast, oh and stay at those same places 537 00:34:46,956 --> 00:34:50,236 Speaker 2: where we used go right, and just get in small 538 00:34:50,236 --> 00:34:52,996 Speaker 2: groups and talk about everybody and how things are going, 539 00:34:53,036 --> 00:34:57,756 Speaker 2: and really communicate with each other about what can we 540 00:34:57,796 --> 00:35:00,996 Speaker 2: do better? How can I make you feel better? I 541 00:35:00,996 --> 00:35:03,516 Speaker 2: don't know. I just still feel really close to the 542 00:35:03,556 --> 00:35:07,716 Speaker 2: people from Seattle in that particular way, because you can 543 00:35:07,796 --> 00:35:10,716 Speaker 2: really tell the truth to each other other and you're 544 00:35:10,756 --> 00:35:13,156 Speaker 2: not just smiling whatever. 545 00:35:13,276 --> 00:35:13,476 Speaker 3: You know. 546 00:35:14,836 --> 00:35:16,876 Speaker 1: After this last break, we'll be back with more from 547 00:35:16,956 --> 00:35:23,516 Speaker 1: Nancy Wilson. We're back with the rest of Lea Rose's 548 00:35:23,556 --> 00:35:25,396 Speaker 1: conversation with Nancy Wilson. 549 00:35:26,596 --> 00:35:30,556 Speaker 3: When you started to pivot and work on film scores 550 00:35:30,556 --> 00:35:35,236 Speaker 3: with Cameron Crowe and you worked on Almost Famous, how 551 00:35:35,316 --> 00:35:39,196 Speaker 3: much of your experience was used in that movie? Was 552 00:35:39,236 --> 00:35:42,556 Speaker 3: a lot of it? Like direct source material for the movie? 553 00:35:43,716 --> 00:35:47,356 Speaker 2: Yeah, most of the Hearts played most of the sound 554 00:35:47,556 --> 00:35:52,236 Speaker 2: of the score. Music for Almost Famous is me playing everything. 555 00:35:52,916 --> 00:35:58,756 Speaker 2: So I played you know, percussion and keyboards, and I 556 00:35:58,836 --> 00:36:06,636 Speaker 2: played hurdy gurdy, a little bit of you know, synthesizer, piano, guitar, 557 00:36:06,876 --> 00:36:13,316 Speaker 2: electric guitar, bass guitar, and vocals, you know as atmosphere, 558 00:36:13,516 --> 00:36:17,756 Speaker 2: and I really had a blast doing that. I actually 559 00:36:17,876 --> 00:36:23,396 Speaker 2: had a couple of musical instrumental pieces i'd recorded along 560 00:36:23,436 --> 00:36:28,596 Speaker 2: the way, one in particular, called the Queue, ended up 561 00:36:28,596 --> 00:36:32,756 Speaker 2: being called Deflower the Kid. So there was a piece 562 00:36:32,756 --> 00:36:36,596 Speaker 2: of music that I'd already recorded just as a piece 563 00:36:36,636 --> 00:36:41,196 Speaker 2: for myself for a different project that fit perfectly into 564 00:36:41,236 --> 00:36:46,596 Speaker 2: the scene where with the William Miller characters being deflowered 565 00:36:46,636 --> 00:36:50,396 Speaker 2: by the band aids in a hotel room in slow motion. 566 00:36:50,796 --> 00:36:54,636 Speaker 2: So it actually worked out very well. It's like they 567 00:36:54,876 --> 00:36:58,276 Speaker 2: cut to the song, so it worked really perfectly for 568 00:36:58,356 --> 00:37:00,636 Speaker 2: that one scene, the whole scene, and I had a 569 00:37:00,676 --> 00:37:03,676 Speaker 2: few little bits and pieces scraps of music sitting around 570 00:37:03,716 --> 00:37:07,196 Speaker 2: it I threw into the mix. But I recorded a 571 00:37:07,196 --> 00:37:11,796 Speaker 2: lot of it just on a little cassette stuffed into 572 00:37:11,876 --> 00:37:18,516 Speaker 2: a tiny Costco TV player with really good like Noyman 573 00:37:18,636 --> 00:37:23,316 Speaker 2: microphones at my friends my friend's house, you know, no 574 00:37:23,316 --> 00:37:29,196 Speaker 2: no soundproofing, nothing, just very low fi but close enough 575 00:37:29,276 --> 00:37:32,516 Speaker 2: so that you couldn't really hear the garbage trucks outside. 576 00:37:32,076 --> 00:37:32,276 Speaker 3: You know. 577 00:37:32,996 --> 00:37:37,076 Speaker 2: So so Jerry Maguire was done like that. Almost famous 578 00:37:37,196 --> 00:37:40,516 Speaker 2: was done on the pretty much really low fly by 579 00:37:40,676 --> 00:37:46,116 Speaker 2: like that. My first ever movie session, like which scared 580 00:37:46,156 --> 00:37:48,916 Speaker 2: the shit out of me, was for for say anything. 581 00:37:49,476 --> 00:37:53,076 Speaker 2: Anne Dudley was the score artist on that, So she 582 00:37:53,276 --> 00:37:55,156 Speaker 2: was really nice to me. It was like I don't 583 00:37:55,156 --> 00:37:58,196 Speaker 2: know how to read. I mean I learned, but I 584 00:37:58,236 --> 00:38:01,356 Speaker 2: don't remember how to read, and so it's like, just 585 00:38:01,396 --> 00:38:03,156 Speaker 2: show me how it goes my ear and I'll just 586 00:38:03,196 --> 00:38:06,716 Speaker 2: play it. So I played, you know, guitar parts for 587 00:38:07,996 --> 00:38:10,636 Speaker 2: that in a scoring session for my first time ever. 588 00:38:10,796 --> 00:38:13,716 Speaker 2: And then the next thing I did was Jerry Maguire 589 00:38:13,756 --> 00:38:16,996 Speaker 2: by myself. Wow, with the Costco TV. 590 00:38:18,876 --> 00:38:23,716 Speaker 3: What an incredible new experience to have at that point 591 00:38:23,756 --> 00:38:27,436 Speaker 3: in your career, still in music, still making music, but 592 00:38:27,516 --> 00:38:32,076 Speaker 3: now by yourself. Yeah, such a different way to make music. 593 00:38:32,316 --> 00:38:35,676 Speaker 2: So different. Well, I had a really good music editor, 594 00:38:36,036 --> 00:38:38,956 Speaker 2: Carl Caller, that I did a lot of that stuff 595 00:38:38,996 --> 00:38:44,916 Speaker 2: with for years, and he was really a good translator 596 00:38:45,316 --> 00:38:48,796 Speaker 2: for me to know how to approach it, like because 597 00:38:48,796 --> 00:38:51,876 Speaker 2: he would be able to take something I'd done and 598 00:38:52,116 --> 00:38:55,676 Speaker 2: edit it together to fit the screen. So I was 599 00:38:55,716 --> 00:38:59,436 Speaker 2: not encumbered by what was on picture and played a 600 00:38:59,476 --> 00:39:03,436 Speaker 2: picture very often, just took for that those five seconds 601 00:39:03,516 --> 00:39:07,356 Speaker 2: or whatever. But you know, we got really experimental when 602 00:39:07,396 --> 00:39:12,036 Speaker 2: we did Vanilla Sky. There's some really crazy stuff that 603 00:39:12,076 --> 00:39:16,396 Speaker 2: we did in that together. There's one called Elevator Beat 604 00:39:16,716 --> 00:39:20,156 Speaker 2: where the Tom Cruise character is going up the elevator 605 00:39:20,156 --> 00:39:24,756 Speaker 2: at the end before he jumps off the building, relives 606 00:39:24,756 --> 00:39:28,116 Speaker 2: his life as he's falling. I went to a flea market, 607 00:39:28,156 --> 00:39:32,036 Speaker 2: the Pasadena flea Market, and I found these old vinyl 608 00:39:32,316 --> 00:39:36,876 Speaker 2: discs that you could play on home entertainment keyboard machines. 609 00:39:37,276 --> 00:39:41,276 Speaker 2: You would certain a disc and it would play the 610 00:39:41,356 --> 00:39:45,716 Speaker 2: groovy beat that you could play along with on your keyboard, 611 00:39:45,916 --> 00:39:52,396 Speaker 2: your your home entertainment organs. Wow, so the Casio maybe, yes, yes, 612 00:39:52,636 --> 00:39:57,116 Speaker 2: so really analogue, scratchy old albums that people would like. 613 00:39:57,236 --> 00:40:04,076 Speaker 6: D you know, it would have like do you know, 614 00:40:04,116 --> 00:40:08,836 Speaker 6: little little groove beats or like you turn it over, 615 00:40:09,156 --> 00:40:09,676 Speaker 6: would be like. 616 00:40:11,396 --> 00:40:15,836 Speaker 2: A shoff with the flutes right there. And so then 617 00:40:16,276 --> 00:40:20,916 Speaker 2: you could tape it and run the tape backwards and 618 00:40:21,076 --> 00:40:25,876 Speaker 2: have this crazy ass insanity sounding thing that you could 619 00:40:25,916 --> 00:40:29,156 Speaker 2: also play forward stuff too, stuff like that. So I 620 00:40:29,156 --> 00:40:31,436 Speaker 2: thought it was Brian Wilson there for a minute, and 621 00:40:32,396 --> 00:40:35,516 Speaker 2: you know, or the Beatles on drugs, you know, And 622 00:40:35,596 --> 00:40:39,516 Speaker 2: we just tried everything like that On Vanilla Sky. I 623 00:40:40,076 --> 00:40:45,636 Speaker 2: was clearing out my garage, throwing stuff into a garbage 624 00:40:45,636 --> 00:40:50,356 Speaker 2: scan and I recorded the sound of big flanks and 625 00:40:50,796 --> 00:40:54,596 Speaker 2: clunks and planks going into the garbage can and used 626 00:40:54,636 --> 00:40:58,876 Speaker 2: it as a rhythm track for Vanilla Sky where he's 627 00:40:58,916 --> 00:41:00,956 Speaker 2: walking through the streets with his mask. 628 00:41:00,796 --> 00:41:03,596 Speaker 3: On stuff that was so eerie. 629 00:41:03,836 --> 00:41:05,876 Speaker 2: So it's like crazy stuff, you know. 630 00:41:06,476 --> 00:41:09,196 Speaker 3: Did you have a lot of influence over the stories 631 00:41:09,436 --> 00:41:10,756 Speaker 3: of the movies as well? 632 00:41:11,316 --> 00:41:15,676 Speaker 2: Well? With Kevin writing scripts, he was always writing, rewriting 633 00:41:15,876 --> 00:41:21,276 Speaker 2: and rewriting again and reading out loud for dialogue and 634 00:41:21,356 --> 00:41:24,556 Speaker 2: just for the feel of how it sounds and what 635 00:41:24,596 --> 00:41:29,556 Speaker 2: it feels like. So yeah, I did a lot of responding, 636 00:41:29,676 --> 00:41:31,836 Speaker 2: and I made a lot of notes, gave a lot 637 00:41:31,836 --> 00:41:35,116 Speaker 2: of notes, you know, a sentence here, a sentence there 638 00:41:35,196 --> 00:41:38,476 Speaker 2: that might land in a funny, cool way, And so 639 00:41:38,596 --> 00:41:41,236 Speaker 2: I kind of worked a little bit on some of 640 00:41:41,276 --> 00:41:45,316 Speaker 2: the dialogue mainly. And it's a lot like songwriting, especially 641 00:41:46,156 --> 00:41:49,876 Speaker 2: a writer like Camera Crow. He writes with music in 642 00:41:49,916 --> 00:41:54,916 Speaker 2: his head, So he's writing his scenes like songs in 643 00:41:54,956 --> 00:41:59,036 Speaker 2: a lot of ways where he's working toward a song 644 00:41:59,116 --> 00:42:02,836 Speaker 2: that's going to be in the scene or or they're 645 00:42:02,876 --> 00:42:05,876 Speaker 2: going to have, you know, a feeling of a song 646 00:42:05,996 --> 00:42:10,076 Speaker 2: that they're going to act the scene too, that's playing 647 00:42:10,556 --> 00:42:13,196 Speaker 2: on set, even if you don't have it in the 648 00:42:13,276 --> 00:42:17,756 Speaker 2: movie later stuff like that. So it's all steeped in music, 649 00:42:18,556 --> 00:42:24,756 Speaker 2: and the cadence of the dialogue should sound musical. Yeah. Yeah. 650 00:42:24,796 --> 00:42:27,996 Speaker 3: Did you have any experiences on set with the actors 651 00:42:27,996 --> 00:42:29,836 Speaker 3: once you got to the point where the movie was 652 00:42:29,876 --> 00:42:30,996 Speaker 3: actually being filmed. 653 00:42:32,276 --> 00:42:37,476 Speaker 2: My most memorable wildest one was on Almost Famous when 654 00:42:37,556 --> 00:42:41,356 Speaker 2: Billy Krudip was playing the rock star on Acid of 655 00:42:41,476 --> 00:42:44,716 Speaker 2: the scene where he goes to the kids party and 656 00:42:45,076 --> 00:42:48,956 Speaker 2: it's a really funny part, and they were about to 657 00:42:48,996 --> 00:42:51,836 Speaker 2: film the part where he's up on the roof going 658 00:42:52,356 --> 00:42:56,796 Speaker 2: I'm a golden God, you know, and he said, so, Nancy, 659 00:42:56,836 --> 00:42:59,436 Speaker 2: did you ever take LSD? And I was like, yes, 660 00:42:59,476 --> 00:43:04,276 Speaker 2: I did. He does tell me what it's like, because 661 00:43:04,276 --> 00:43:06,836 Speaker 2: he was about to go do this scene like right 662 00:43:06,876 --> 00:43:10,956 Speaker 2: after that, and I said, well, it's kind of like 663 00:43:11,796 --> 00:43:15,156 Speaker 2: you're like your nerves are all kind of sparks coming 664 00:43:15,196 --> 00:43:18,876 Speaker 2: out at the ends of your fingers, and your head 665 00:43:18,916 --> 00:43:22,876 Speaker 2: feels like an opening observatory where you're starting to see 666 00:43:23,356 --> 00:43:28,596 Speaker 2: the universe and the stars and you feel kind of elevated, 667 00:43:28,756 --> 00:43:33,036 Speaker 2: like you're part of everything and you're part of God 668 00:43:33,516 --> 00:43:37,596 Speaker 2: and love all of the same time. So so he 669 00:43:37,756 --> 00:43:39,876 Speaker 2: kind of went up. He kind of went out there 670 00:43:39,916 --> 00:43:43,116 Speaker 2: and he sort of exactly did what I just said said. 671 00:43:43,716 --> 00:43:46,156 Speaker 2: If you look at it today, you'll see like you 672 00:43:46,156 --> 00:43:50,436 Speaker 2: can almost see sparks coming out of his fingertips. It's electrified. 673 00:43:50,916 --> 00:43:55,436 Speaker 3: Yes, that must be so interesting to have the opportunity 674 00:43:55,476 --> 00:43:57,636 Speaker 3: to talk to an actor and see them just turn 675 00:43:57,676 --> 00:43:57,876 Speaker 3: it on. 676 00:43:58,516 --> 00:44:01,796 Speaker 2: I know, I have so much respect for that. I 677 00:44:01,956 --> 00:44:04,276 Speaker 2: tried to act a couple of times. It really did 678 00:44:04,316 --> 00:44:07,836 Speaker 2: not go well for me because, you know, I know 679 00:44:07,916 --> 00:44:12,916 Speaker 2: how to put myself in another like musical persona kind 680 00:44:12,956 --> 00:44:16,956 Speaker 2: of way, but like just walking and talking is that 681 00:44:17,116 --> 00:44:20,676 Speaker 2: to me is so foreign. I don't know how to 682 00:44:20,716 --> 00:44:23,196 Speaker 2: not be who I am, you know, right to be 683 00:44:23,316 --> 00:44:24,036 Speaker 2: someone else. 684 00:44:24,196 --> 00:44:27,276 Speaker 3: Did you ever see Tom Cruise on set acting? I 685 00:44:27,276 --> 00:44:30,116 Speaker 3: imagine he then he should be really fantastic to watch. 686 00:44:30,676 --> 00:44:33,996 Speaker 2: He was fantastic. He's a fantastic human being. I mean, 687 00:44:34,756 --> 00:44:37,716 Speaker 2: his eyes are kind of like headlights. You know, He's 688 00:44:37,836 --> 00:44:41,716 Speaker 2: just full of this light that comes out of him. 689 00:44:41,956 --> 00:44:44,316 Speaker 2: And I don't know what it is. I mean, maybe 690 00:44:44,356 --> 00:44:48,516 Speaker 2: it's scientology. I don't know, but it's it's positive if 691 00:44:48,556 --> 00:44:51,076 Speaker 2: it works for him. Obviously it really does. And he's 692 00:44:51,116 --> 00:44:54,436 Speaker 2: a sweetheart, and you know he kisses your mom when 693 00:44:54,436 --> 00:44:56,996 Speaker 2: he meets your mom, and she's like, you know, she's 694 00:44:57,036 --> 00:45:00,556 Speaker 2: a flutter and he's just the nicest human being. 695 00:45:01,396 --> 00:45:04,156 Speaker 3: I wanted to hear about your experience around the time 696 00:45:04,236 --> 00:45:09,716 Speaker 3: you started working on film scores and you Heart for 697 00:45:10,076 --> 00:45:13,236 Speaker 3: a small amount of time, and then you had the 698 00:45:13,556 --> 00:45:16,956 Speaker 3: experience of going and seeing Heart play and being in 699 00:45:16,996 --> 00:45:20,076 Speaker 3: the audience and seeing and perform. What was that like 700 00:45:20,196 --> 00:45:22,596 Speaker 3: for you to witness her as an audience member? 701 00:45:22,996 --> 00:45:26,636 Speaker 2: That was really actually amazing for me to see that. 702 00:45:26,716 --> 00:45:30,516 Speaker 2: I mean, I never left the band. I was taking 703 00:45:31,156 --> 00:45:34,356 Speaker 2: a sabbatical, you know, kind of trying to start my 704 00:45:34,396 --> 00:45:37,916 Speaker 2: family period of time that I was always going to 705 00:45:37,956 --> 00:45:40,396 Speaker 2: come back to the band, just so that's real clear. 706 00:45:41,196 --> 00:45:43,436 Speaker 2: So when Anne came to LA, I went and saw 707 00:45:43,476 --> 00:45:48,356 Speaker 2: her at a cool club somewhere in town, and I 708 00:45:48,396 --> 00:45:50,236 Speaker 2: was like, I don't want to, oh, you know, I 709 00:45:50,276 --> 00:45:53,036 Speaker 2: don't want to go try to go up on stage 710 00:45:53,116 --> 00:45:56,196 Speaker 2: or do anything with you, because I just I've never 711 00:45:56,276 --> 00:45:59,196 Speaker 2: got to be a spectator and not stand next to 712 00:45:59,196 --> 00:46:03,476 Speaker 2: you on the stage. So I sat up in the audience, 713 00:46:03,676 --> 00:46:06,836 Speaker 2: you know, trying to disappear as hard as I could 714 00:46:07,516 --> 00:46:09,596 Speaker 2: not be there and just be the lie on the 715 00:46:09,636 --> 00:46:15,436 Speaker 2: wall and see this amazing singer. It's like she good. 716 00:46:15,836 --> 00:46:18,956 Speaker 2: You know, she's such a good singer. Like I never 717 00:46:19,076 --> 00:46:22,556 Speaker 2: I'm so usually standing there concentrating on the part I'm 718 00:46:22,556 --> 00:46:24,796 Speaker 2: playing in a harmony that's coming up, or the other 719 00:46:24,836 --> 00:46:28,276 Speaker 2: thing that's gonna happen next to just watch her sing. 720 00:46:28,356 --> 00:46:33,276 Speaker 2: It's like Jesus, she's like one of the greats. This 721 00:46:33,436 --> 00:46:34,516 Speaker 2: all done. 722 00:46:34,756 --> 00:46:37,156 Speaker 3: What was the deciding factor this time to go back 723 00:46:37,196 --> 00:46:38,396 Speaker 3: on tour now. 724 00:46:39,316 --> 00:46:42,556 Speaker 2: Well, there was kind of a natural break over the 725 00:46:42,636 --> 00:46:49,276 Speaker 2: last since twenty nineteen was our last big tour. You know, 726 00:46:49,356 --> 00:46:52,876 Speaker 2: there was a lot of political shuffle and bustle and 727 00:46:52,916 --> 00:46:57,636 Speaker 2: scuffle and it was hard to get or putting back 728 00:46:57,956 --> 00:47:01,516 Speaker 2: together as far as like who owns what and who 729 00:47:01,596 --> 00:47:06,276 Speaker 2: makes what decisions and what is hard exactly and yeah, 730 00:47:06,436 --> 00:47:09,836 Speaker 2: you know who's in it, and so a bunch of 731 00:47:09,876 --> 00:47:16,636 Speaker 2: really boring, unnecessary logistical flex kind of stuff. And you know, 732 00:47:16,716 --> 00:47:20,996 Speaker 2: after twenty sixteen there was that break happened too because 733 00:47:21,756 --> 00:47:24,796 Speaker 2: you know, obvious things that we thank god it's a 734 00:47:24,836 --> 00:47:27,836 Speaker 2: long time ago now, but just stupid stuff that's inside 735 00:47:27,876 --> 00:47:33,876 Speaker 2: the family. It was unnecessary, a negative stuff. We had 736 00:47:33,916 --> 00:47:36,396 Speaker 2: to try to get over that first and then Once 737 00:47:36,436 --> 00:47:38,676 Speaker 2: we got over that, we went out on to the 738 00:47:38,716 --> 00:47:43,676 Speaker 2: twenty nineteen tour and that was a really hugely successful tour, 739 00:47:44,476 --> 00:47:47,836 Speaker 2: but there were still more I don't know, drama. 740 00:47:47,556 --> 00:47:48,076 Speaker 3: To work out. 741 00:47:48,636 --> 00:47:53,916 Speaker 2: So we're back again five years later. Unfortunately it's a 742 00:47:53,956 --> 00:47:56,836 Speaker 2: lot late later. I mean, we'd kind of ready to 743 00:47:56,876 --> 00:47:59,716 Speaker 2: go out for quite a while. But you know, I've 744 00:47:59,716 --> 00:48:02,836 Speaker 2: got a trainer, I'm getting strong, I keep my strength up, 745 00:48:03,996 --> 00:48:05,596 Speaker 2: and I think it's going to be a good one. 746 00:48:06,156 --> 00:48:08,996 Speaker 2: I think it's going to be fun and really really 747 00:48:10,436 --> 00:48:13,236 Speaker 2: and I love playing with my sister. I really like 748 00:48:13,356 --> 00:48:17,116 Speaker 2: being next to her on a rock stage, and you know, 749 00:48:17,196 --> 00:48:19,716 Speaker 2: while we can, it's a good time to do it. 750 00:48:19,796 --> 00:48:21,916 Speaker 3: So do you think you'll do another album? 751 00:48:22,916 --> 00:48:27,516 Speaker 2: Well, I've been writing songs with Sue and one of 752 00:48:27,516 --> 00:48:31,036 Speaker 2: them we're doing in Heart now called roll the Dice. 753 00:48:31,596 --> 00:48:34,436 Speaker 2: It's a new Heart song. So you know, there's a 754 00:48:34,476 --> 00:48:37,716 Speaker 2: couple of other songs that might kind of come out 755 00:48:37,716 --> 00:48:40,596 Speaker 2: of it. But right now, these days, it's more about 756 00:48:40,596 --> 00:48:43,676 Speaker 2: one song at a time than an albums. But I 757 00:48:43,676 --> 00:48:46,516 Speaker 2: would love to do more songs with Art for art, 758 00:48:47,116 --> 00:48:48,036 Speaker 2: but first the tour. 759 00:48:48,276 --> 00:48:50,436 Speaker 3: You know, yeah, I have such a great time on 760 00:48:50,476 --> 00:48:52,436 Speaker 3: the tour. I hope all goes well. People are going 761 00:48:52,516 --> 00:48:54,396 Speaker 3: to go crazy and be so happy to see you 762 00:48:54,436 --> 00:48:55,716 Speaker 3: both so well. 763 00:48:55,876 --> 00:48:58,476 Speaker 2: I'm going to have my stash of Gaffer's tape and 764 00:48:58,516 --> 00:49:01,676 Speaker 2: my scissors stuff and the clips. 765 00:49:02,636 --> 00:49:03,996 Speaker 3: Yeah, your whole kid, the kit. 766 00:49:04,116 --> 00:49:05,396 Speaker 2: I've got the kit ready to go. 767 00:49:05,676 --> 00:49:07,676 Speaker 3: Thank you so much for talking today. It's been so 768 00:49:07,796 --> 00:49:08,276 Speaker 3: much fun. 769 00:49:08,556 --> 00:49:11,676 Speaker 2: Thank you. Really great to talk to you two, and 770 00:49:11,876 --> 00:49:12,996 Speaker 2: very thorough. 771 00:49:15,516 --> 00:49:18,316 Speaker 1: Thanks to Nancy Wilson of Heart. Stay tuned next week 772 00:49:18,396 --> 00:49:21,436 Speaker 1: to hear from our sister and We'll see You. Can 773 00:49:21,476 --> 00:49:23,596 Speaker 1: hear all of our favorite Heart songs on a playlist 774 00:49:23,596 --> 00:49:27,316 Speaker 1: at broken record podcast dot com. Subscribe to our YouTube 775 00:49:27,356 --> 00:49:30,516 Speaker 1: channel at YouTube dot com slash broken Record Podcast, where 776 00:49:30,516 --> 00:49:33,596 Speaker 1: you can find all of our new episodes. You can 777 00:49:33,596 --> 00:49:36,956 Speaker 1: follow us on Twitter at broken Record. Broken Record is 778 00:49:36,996 --> 00:49:40,036 Speaker 1: produced and edited by Leah Rose, with marketing help from 779 00:49:40,116 --> 00:49:43,676 Speaker 1: Eric Sandler and Jordan McMillan. Our engineer is Ben Tollery. 780 00:49:44,356 --> 00:49:47,876 Speaker 1: Broken Record is a production of Pushkin Industries. If you 781 00:49:47,916 --> 00:49:51,236 Speaker 1: love this show and others from Pushkin, consider subscribing to 782 00:49:51,356 --> 00:49:55,316 Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers 783 00:49:55,316 --> 00:49:58,436 Speaker 1: bonus content and ad free listening for four ninety nine 784 00:49:58,476 --> 00:50:02,636 Speaker 1: a month. Look for Pushkin Plus on Apple podcast subscriptions 785 00:50:03,236 --> 00:50:05,876 Speaker 1: and if you like this show, please remember to share, rate, 786 00:50:05,916 --> 00:50:08,716 Speaker 1: and review us on your podcast app. Our theme music's 787 00:50:08,716 --> 00:50:10,756 Speaker 1: by any Eats. I'm justin Richmond.