WEBVTT - Heart's Nancy Wilson 0:00:15.476 --> 0:00:23.116 Pushkin. Guitarist and songwriter Nancy Wilson is one half of 0:00:23.156 --> 0:00:26.356 the rock band Heart, along with her older sister Anne Wilson. 0:00:27.236 --> 0:00:28.996 Nancy and Ann have been the face of the band 0:00:29.036 --> 0:00:31.676 since the mid seventies, when they started playing gigs around 0:00:31.676 --> 0:00:35.396 their home base in Vancouver, British Columbia. The Wilson sisters 0:00:35.436 --> 0:00:38.516 both migrated to Canada from Seattle, Washington to join a 0:00:38.556 --> 0:00:42.916 band member who was dodging the Vietnam draft. Heart's first album, 0:00:43.036 --> 0:00:46.196 Dreamboat Annie, was released in nineteen seventy six, right as 0:00:46.196 --> 0:00:48.756 a band was making traction opening for big acts like 0:00:48.876 --> 0:00:52.076 Rod Stewart and the Bee Gees. Soon, their songs like 0:00:52.196 --> 0:00:54.756 Magic Man and Crazy On You started to take off 0:00:54.756 --> 0:00:57.836 in the States, and Heart quickly became a headlining act. 0:00:58.676 --> 0:01:01.956 Nearly fifty years since the debut album, Heart has experienced 0:01:02.076 --> 0:01:04.876 career highs like a string of chart topping hits and 0:01:04.916 --> 0:01:06.956 an induction into the Rock and Roll Hall of Fame, 0:01:07.556 --> 0:01:11.916 as well as their fair share of personal and professional adversity. Today, 0:01:11.996 --> 0:01:16.076 Ann and Nancy remain steadfast in continuing Heart's legacy. This month, 0:01:16.156 --> 0:01:18.956 they are embarking on a world tour, their first in 0:01:19.036 --> 0:01:23.596 five years, to celebrate Anna and Nancy Wilson's massive contribution 0:01:23.676 --> 0:01:26.756 to rock and roll history. Will feature conversations with both 0:01:26.836 --> 0:01:29.956 sisters over the next two weeks. Today, we'll hear Leo 0:01:30.036 --> 0:01:32.356 Rose talk to Nancy about how the popular drugs of 0:01:32.396 --> 0:01:36.596 the seventies and eighties influenced Heart's sound. She also describes 0:01:36.636 --> 0:01:39.556 how being accepted by the musicians of Seattle's grunge scene 0:01:39.676 --> 0:01:43.396 helped her overcome Heart's fraud experience recording power ballads in 0:01:43.436 --> 0:01:46.956 the eighties, and she describes the lo fi setup she 0:01:47.036 --> 0:01:49.716 used to score the soundtracks of her ex husband Cameron 0:01:49.756 --> 0:01:54.276 Crowe's hit movies Almost Famous, Vanilla Sky, and Jerry Maguire. 0:01:57.116 --> 0:02:00.356 This is broken record liner notes for the digital age. 0:02:00.516 --> 0:02:01.476 I'm justin Ritchman. 0:02:02.236 --> 0:02:05.476 Here's Lea Rose's conversation with Heart's Nancy Wilson. 0:02:06.476 --> 0:02:09.596 I was looking at your upcoming tour dates and I 0:02:09.636 --> 0:02:12.756 know this is you know, probably nothing new to you, 0:02:12.916 --> 0:02:14.556 but it has been five years since you've been on 0:02:14.596 --> 0:02:17.436 the road. Yeah, I guess with this sort of like 0:02:17.476 --> 0:02:21.316 an arena tour. Yes, I didn't realize it was five 0:02:21.436 --> 0:02:22.156 months long. 0:02:23.116 --> 0:02:24.556 Well yeah, yeah. 0:02:24.556 --> 0:02:26.356 Does that sound like a long time to you or 0:02:26.436 --> 0:02:30.876 is that just part of life and you readjust. 0:02:30.756 --> 0:02:33.636 Right now what I've heard. The last I heard the 0:02:33.756 --> 0:02:38.996 last Heart show is December fifteenth, so it's been extended. 0:02:39.596 --> 0:02:43.076 I think it's been extended through another running through Canada. 0:02:43.676 --> 0:02:45.036 I love Canada. 0:02:44.716 --> 0:02:46.956 Though, good old Canada for heart. 0:02:47.276 --> 0:02:50.516 Good Old Canada for Heart. I know it's our other home, 0:02:51.396 --> 0:02:53.916 you know, but there's breaks between. Do you do about 0:02:54.356 --> 0:02:59.036 twenty shows or thirty shows? Then you go home for 0:02:59.116 --> 0:03:03.156 maybe two weeks, so you can, you know, answer you're mail. 0:03:03.436 --> 0:03:06.836 You know, what sort of comforts do you set up 0:03:06.876 --> 0:03:08.756 for yourself at this point when you're going out for 0:03:08.756 --> 0:03:09.116 that long? 0:03:10.756 --> 0:03:12.876 I think I could write a book about it. There's 0:03:12.956 --> 0:03:19.116 a whole survival kit really of like comfort zone things 0:03:19.436 --> 0:03:23.716 and practical survival things that you need to kind of 0:03:23.716 --> 0:03:27.516 have with you, and skills that you develop when you're 0:03:27.716 --> 0:03:32.796 not at home. So like you take one container that 0:03:32.956 --> 0:03:39.916 has sharpies, scissors, gaffer's tape, some kind of string, and 0:03:39.996 --> 0:03:44.556 then you know, some of those alligator clips and a 0:03:44.796 --> 0:03:49.876 pillowcase so if the vent in the hotel room is 0:03:50.036 --> 0:03:55.076 blasting cold air on you, you can clip the pillowcase 0:03:55.236 --> 0:04:01.316 to the vent, take a call. There's stuff like that, 0:04:01.716 --> 0:04:05.996 and an alligator clip also will close the curtains when 0:04:06.036 --> 0:04:10.236 its broad daylight comes away too early in your room. Oh, 0:04:10.436 --> 0:04:14.876 hair clamps also suffice. And then you if you have 0:04:14.876 --> 0:04:18.556 a stinky room, you run the shower with the tub 0:04:18.676 --> 0:04:22.196 closed so the water gathers the hot water with this 0:04:22.516 --> 0:04:25.956 complimentary shampoo who were on in the bath with the 0:04:26.036 --> 0:04:29.116 shower moist in the air and scent the room at 0:04:29.116 --> 0:04:29.716 the same time. 0:04:30.436 --> 0:04:30.956 Wow. 0:04:31.396 --> 0:04:34.396 And if you get an extra pile of towels, you 0:04:34.436 --> 0:04:37.476 can do all your laundry in cold water in the tub, 0:04:37.996 --> 0:04:40.156 bring them out, rinse them in the tub, ring them 0:04:40.156 --> 0:04:43.556 out again, and do the towel dance is what I 0:04:43.636 --> 0:04:47.796 call when you lay the clothes and fold the towels 0:04:47.836 --> 0:04:50.916 and do the dance on the towels, and then hang 0:04:51.036 --> 0:04:54.436 the clothes in the room. And if you have a balcony, 0:04:54.516 --> 0:04:57.556 even better because then they'll go fast. They'll drive faster. 0:04:58.156 --> 0:05:01.316 Like college stuff, all the college stuff all works. You know, 0:05:02.156 --> 0:05:05.396 if you ever went to university, which I did, all 0:05:05.396 --> 0:05:08.196 of that stuff, like one little hot pot is pretty 0:05:08.236 --> 0:05:11.716 much all. You had no refrigerator, you know, Yeah, you 0:05:11.796 --> 0:05:14.756 had the window that kept things cooled outside, you know, 0:05:15.036 --> 0:05:15.756 stuff like that. 0:05:16.636 --> 0:05:20.156 I listened to your audio book Kicking and dreaming And 0:05:20.276 --> 0:05:22.516 it was so great because you read the book. You 0:05:22.596 --> 0:05:26.196 and Anne read the book. There was one section where 0:05:26.196 --> 0:05:30.196 you were talking about meeting Paul McCartney. Uh huh, and 0:05:30.276 --> 0:05:32.756 he was on stage talking to somebody else, and then 0:05:33.476 --> 0:05:35.436 I guess you and Anne went up and started talking 0:05:35.476 --> 0:05:39.316 to him, and he had this glazed over look in 0:05:39.356 --> 0:05:42.596 his eye that I think Anne said reminded her of 0:05:42.716 --> 0:05:44.636 just what happens when you're on the road for a 0:05:44.676 --> 0:05:45.716 long period of time. 0:05:46.116 --> 0:05:48.436 Yeah, oh yeah. 0:05:47.756 --> 0:05:49.836 How do you get past that feeling? 0:05:50.596 --> 0:05:53.196 How do you deglaze yourself? Yeah? 0:05:53.236 --> 0:05:55.676 How do you manage that when you're just in the 0:05:55.716 --> 0:05:56.796 middle of a long tour? 0:05:57.516 --> 0:06:00.396 Well, you know, sleep is the key to the universe, 0:06:00.476 --> 0:06:06.116 for one thing. You try to find quiet places and 0:06:06.276 --> 0:06:10.756 moments to regroup and re gather because there's there can 0:06:10.836 --> 0:06:16.116 be a lot of momentum and dramatic political drama inside 0:06:16.116 --> 0:06:19.596 of the power structures that are traveling with you. You 0:06:19.596 --> 0:06:24.036 know what usually happens on a big rock tour with 0:06:24.156 --> 0:06:28.436 a lot of travel, a lot of finance involved, is 0:06:28.996 --> 0:06:31.836 me and Anne are like in the eye of the hurricane, 0:06:31.916 --> 0:06:36.556 where it's quiet and calm and peaceful together and our 0:06:36.636 --> 0:06:42.836 humors intact and our initial relationship just it's just like 0:06:42.956 --> 0:06:48.116 completely safe, but everything else is swirwing like the Dickens. 0:06:48.356 --> 0:06:51.316 It's like the Twister movie where you see cows go 0:06:51.436 --> 0:06:54.636 by and you know, there's go, there's the kitchen sing, 0:06:54.796 --> 0:06:58.716 there's a house over there. You know, just the emotional 0:06:59.116 --> 0:07:03.556 luggage that you kind of have to navigate through the 0:07:03.596 --> 0:07:08.076 baggage and the chaos that can surround you. But we 0:07:08.156 --> 0:07:12.276 do like to have a wellness room because we're gonna 0:07:12.316 --> 0:07:16.716 be in lots of arenas which are basically locker rooms, yeah, 0:07:16.876 --> 0:07:19.996 which you know, so you're gonna need something that smells 0:07:20.036 --> 0:07:24.236 good in there, like some lavender spray or lavender spray, 0:07:24.436 --> 0:07:29.436 some incense, and some good thick yoga mats and some 0:07:29.556 --> 0:07:33.556 music and turning the fluorescence off and some put some 0:07:33.636 --> 0:07:37.036 candles on and have a massage table in one room 0:07:37.076 --> 0:07:40.436 and then have the workout stuff like the TRX and 0:07:40.476 --> 0:07:44.596 the free weights and the pilates machine in the other 0:07:44.716 --> 0:07:48.836 room so you can strengthen or you can you know, 0:07:48.876 --> 0:07:52.196 go get bodywork, even if it's once in a while, 0:07:52.596 --> 0:07:55.596 you know, just try to keep strong and keep centered 0:07:55.636 --> 0:07:55.956 with it. 0:07:56.556 --> 0:07:58.316 Last time you went out, I saw there's a couple 0:07:58.396 --> 0:08:01.236 of dates on this tour with Deaf Leopard in Journey 0:08:01.996 --> 0:08:04.396 and last time you went out with them, it sounds 0:08:04.396 --> 0:08:08.596 like Deaf Leopard were just like party animals to an 0:08:08.596 --> 0:08:10.916 extent that you weren't expecting because at that point they 0:08:10.916 --> 0:08:14.156 were in their fifties and it sort of took you 0:08:14.196 --> 0:08:17.036 a bash. Are you expecting more of that this tour? 0:08:18.556 --> 0:08:21.996 They're older guys now, Like everybody has to slow down 0:08:22.036 --> 0:08:26.436 their party activity, you know at a certain point. I mean, 0:08:26.516 --> 0:08:30.076 for instance, you too have really slowed down because I've 0:08:30.076 --> 0:08:33.116 partied with you too. One time it was like whoa, 0:08:33.436 --> 0:08:36.276 where are what cities we land in on the private jet? 0:08:36.396 --> 0:08:39.796 Oh wait, you thought it was Paris, No, it's Vegas. 0:08:39.836 --> 0:08:43.356 You know, like stuff was going on. Everybody was drinking 0:08:43.396 --> 0:08:47.116 like fish and smoking like sex. But you know, you 0:08:47.196 --> 0:08:50.116 can't live like that when you're especially if you're a 0:08:50.116 --> 0:08:53.636 little bit older. So you know, those dance cards have 0:08:53.716 --> 0:08:57.436 been full for a while, so we I think even 0:08:57.996 --> 0:09:01.356 I don't know, even def Lepper, I mean, you can't 0:09:01.516 --> 0:09:05.356 actually go out and play and do it well if 0:09:05.396 --> 0:09:09.436 you're just destructed from a party, right. I mean, art 0:09:09.476 --> 0:09:14.476 actually plays everything live. We don't run tapes, as they say. 0:09:15.076 --> 0:09:17.556 Our show doesn't come out out of a box like 0:09:17.676 --> 0:09:21.436 most people do these days, which is not a just 0:09:21.556 --> 0:09:24.996 mental comment on my part, but I guess we're just 0:09:25.076 --> 0:09:27.276 kind of old school that way. We just really want 0:09:27.276 --> 0:09:31.276 to feel the authenticity of the moment that only happens 0:09:31.796 --> 0:09:36.516 that one particular time and there's nothing sort of canned 0:09:36.636 --> 0:09:40.036 going on around it, you know, And even at the 0:09:40.116 --> 0:09:44.076 expense of coming off really fallible and really human at 0:09:44.116 --> 0:09:48.956 times where your voice doesn't exactly work right or you squeak, 0:09:49.156 --> 0:09:51.956 you know, or you can't quite hit that note, or 0:09:52.796 --> 0:09:55.596 or your fingers don't work too well or your finger's 0:09:55.676 --> 0:09:58.156 hurt or whatever it is. You know, we just do 0:09:58.276 --> 0:10:00.676 it like that because that's how we know how to 0:10:00.676 --> 0:10:03.916 do it, you know. Like as a rock fan, if 0:10:03.956 --> 0:10:07.596 I go see the Eagles, for example, and you could 0:10:07.596 --> 0:10:10.836 tell some of the background vocal are sweetened, you know, 0:10:11.676 --> 0:10:13.916 or if you go see Paul McCartney and some of 0:10:13.996 --> 0:10:17.436 it's a little bit extra, you know, like the album 0:10:17.556 --> 0:10:22.196 sounding and stuff like that, it doesn't really matter, you know, 0:10:22.596 --> 0:10:25.756 there's no like shame in that. I think all that 0:10:25.876 --> 0:10:29.596 really matters is how beloved these songs are and the 0:10:29.716 --> 0:10:33.836 experience that people get from going all the way out 0:10:33.836 --> 0:10:36.476 of their way to go and see you play those 0:10:36.516 --> 0:10:37.556 songs that they love. 0:10:38.356 --> 0:10:39.996 Are you the type of fan if you go see 0:10:39.996 --> 0:10:43.076 someone like Paul McCartney, since you've loved the Beatles for 0:10:43.116 --> 0:10:46.916 so long, do you want to hear him play all 0:10:46.956 --> 0:10:51.396 the hits, all the early Beatles stuff, Wing stuff. Do 0:10:51.516 --> 0:10:53.476 you kind of get a little bit disgruntled if he 0:10:53.516 --> 0:10:57.076 starts to play a new song? Or because you're also 0:10:57.436 --> 0:11:00.236 an artist and a performer, do you totally get that 0:11:00.316 --> 0:11:03.676 and are you over supportive of that that new music moment? 0:11:04.196 --> 0:11:06.676 I tend that's a good question. I tend to be 0:11:06.756 --> 0:11:10.716 really overly supportive of anyone that you know, puts a 0:11:10.796 --> 0:11:14.236 toe into the new material column, you know, in a 0:11:14.276 --> 0:11:17.596 live show setting, especially when they have so many beloved 0:11:17.676 --> 0:11:20.876 songs to do. And I went and saw Paul on 0:11:20.956 --> 0:11:25.196 his eightieth roofday in San Francisco, and it was an 0:11:25.236 --> 0:11:29.276 incredibly good show. And you know, he's ever the Paul. 0:11:29.476 --> 0:11:35.956 He's dependable as the sun will rise. He's a genius songwriter. 0:11:36.556 --> 0:11:40.556 But there's so many songs that over a very actually 0:11:40.636 --> 0:11:45.116 pretty short period of time that became such landmark songs, 0:11:45.156 --> 0:11:49.156 and even with Wings as well as with the Beatles, 0:11:49.436 --> 0:11:53.076 but when he does something like Molofkin Tire or something 0:11:53.116 --> 0:11:57.516 more rare like Happiness in the Homeland or you know, 0:11:57.676 --> 0:12:02.196 love in Song or you know Tug of War. I mean, 0:12:02.236 --> 0:12:05.756 I know all all of its songs deep cuts. So 0:12:05.876 --> 0:12:08.796 that's kind of what I'm concentrating a little bit on 0:12:08.876 --> 0:12:13.516 with this new lineup of players in this band. We 0:12:13.596 --> 0:12:17.036 call Heart a couple of deep cuts, you know, to 0:12:17.116 --> 0:12:21.196 put in our back pocket to keep the set list 0:12:21.996 --> 0:12:27.116 from being always predictably the same, right, even for ourselves, 0:12:27.236 --> 0:12:30.116 you know. Yeah, living on the edge, it's like, okay, 0:12:30.276 --> 0:12:32.276 let's pull this one out. Oh my god, how does 0:12:32.356 --> 0:12:34.716 that go? Again? Let's see how does that go? 0:12:35.876 --> 0:12:36.596 Yeah? 0:12:36.756 --> 0:12:39.756 You know, if you're worth your salt as a player, 0:12:39.876 --> 0:12:43.316 a singer, songwriter, player, I think you can pretty much 0:12:43.956 --> 0:12:46.996 get through even if you mess up a little bit. 0:12:47.556 --> 0:12:50.316 You can have fun with it and make it work. 0:12:50.916 --> 0:12:56.436 And people kind of appreciate the imperfections, even maybe a 0:12:56.476 --> 0:13:01.076 little bit more than they appreciate something that's absolutely perfect. 0:13:01.836 --> 0:13:04.996 I was curious about your decision to play rhythm guitar 0:13:05.236 --> 0:13:09.316 rather than lead guitar, and if gender had anything to 0:13:09.396 --> 0:13:12.956 do with that decision early on, and if you still 0:13:12.996 --> 0:13:15.796 feel like, yeah, I'm a rhythm guitar player to the death. 0:13:17.396 --> 0:13:19.716 Well, I mean I've been known to step out play 0:13:20.556 --> 0:13:23.036 little bit of lead here and there on records and 0:13:23.076 --> 0:13:27.276 in live settings, and I toss in little I don't know, 0:13:27.396 --> 0:13:30.436 shred moments here and there. But I'm more like a 0:13:30.476 --> 0:13:36.156 Pete Townsend at my center. I'm an accompanist as a songwriter, 0:13:36.796 --> 0:13:41.636 so I approached my playing like a songwriter. So I'm 0:13:41.676 --> 0:13:45.716 accompanying the lyrics and the melody for the song. So 0:13:45.756 --> 0:13:49.156 it's the structure of the song that interests me more 0:13:49.236 --> 0:13:53.636 than the embellishing and kind of the frosting on top, 0:13:53.836 --> 0:13:56.956 you know. So for me, that's the meat and potatoes. 0:13:57.036 --> 0:14:02.956 That's the real, you know, essence. And you can add 0:14:02.996 --> 0:14:06.916 all the extra stuff, which is fun to do. And 0:14:06.996 --> 0:14:09.276 I'm not a horrible league player. I just don't do 0:14:09.316 --> 0:14:13.276 it that often because I'm more a building block song 0:14:13.356 --> 0:14:17.556 person in the way of play. But yeah, but I've 0:14:17.596 --> 0:14:23.036 always thought as a woman playing guitar, there's so many 0:14:23.076 --> 0:14:25.996 women right now that are younger women coming out that 0:14:26.036 --> 0:14:30.356 are just shredders, like Grace Bauers for example. I don't 0:14:30.356 --> 0:14:33.436 know if you've seen her on like Instagram or whatever, 0:14:33.516 --> 0:14:39.316 but She is kind of a Clapton type shredder. She's 0:14:39.356 --> 0:14:44.516 a blues player who plays instead of for the quantity 0:14:44.596 --> 0:14:48.436 of notes, she plays for the quality of the expression 0:14:49.116 --> 0:14:52.236 of the notes that she chooses that sound more like 0:14:52.396 --> 0:14:56.396 sentences than you know, show off stuff. 0:14:57.196 --> 0:14:59.676 I was surprised when I listened back to Dreamboat Annie, 0:15:00.036 --> 0:15:02.116 which is turning fifty. 0:15:01.796 --> 0:15:03.276 Next year next year. 0:15:03.916 --> 0:15:06.916 There's so much musical interplay on the songs. It's not 0:15:07.116 --> 0:15:10.116 just straightforward at all, and there's a lot of communication 0:15:10.236 --> 0:15:11.516 between the two guitars. 0:15:12.156 --> 0:15:12.476 Right. 0:15:12.916 --> 0:15:15.716 Was that something that was intentional from the beginning or 0:15:15.756 --> 0:15:17.796 did that just happen in jams? 0:15:18.396 --> 0:15:21.316 Well, I guess I would say both. I mean all 0:15:21.356 --> 0:15:25.276 of the above. It's intentional to try to have a 0:15:25.356 --> 0:15:29.796 dialogue with another guitar player, a rhythm and a lead player, 0:15:30.716 --> 0:15:34.436 which you hear a lot of that on Dreambani the album. 0:15:35.276 --> 0:15:38.316 And at that point it was Howard Lease and Roger Fisher, 0:15:38.796 --> 0:15:41.956 two really great players that I got to sort of 0:15:41.996 --> 0:15:45.116 cut my teeth, you know, my rock and roll live 0:15:45.516 --> 0:15:50.236 club band kind of recording first recording session teeth with 0:15:51.236 --> 0:15:55.956 the era we came from to the late sixties. By 0:15:55.996 --> 0:15:58.876 this point, we're releasing our first album in the mid 0:15:58.956 --> 0:16:03.636 seventies and seventy five, so we had all of that 0:16:04.156 --> 0:16:08.156 imprint From the late sixties, the Mind expanded sort of 0:16:08.396 --> 0:16:13.476 epic length songs and you know, tales of great Ulysses 0:16:13.556 --> 0:16:17.276 kind of stuff out there, and you know, like sticks 0:16:17.476 --> 0:16:23.076 and Rush and yes, you know and Heart. A lot 0:16:23.116 --> 0:16:28.876 of conceptualizing going on and yeah, you know, significance and 0:16:28.956 --> 0:16:33.836 depthy symbolism and stuff like that before cocaine, you know, 0:16:34.156 --> 0:16:36.476 before it cut all ego driven later. 0:16:37.516 --> 0:16:41.516 Yeah, I was going to say that feels very LSD esque. 0:16:41.716 --> 0:16:46.676 Very mind expanded from that era. So we were really 0:16:47.196 --> 0:16:49.356 starting out with the first album, I think. 0:16:49.316 --> 0:16:58.396 Really naive and doggedly determined, workmanlike about getting something very 0:16:58.436 --> 0:17:03.156 important recorded onto a vinyl disc, you know, and this 0:17:03.356 --> 0:17:06.116 might be our only chance to be heard. 0:17:06.556 --> 0:17:11.236 And it was really cool because it worked. I mean, 0:17:11.796 --> 0:17:14.916 just over my last weekend, I was having a birthday 0:17:15.716 --> 0:17:20.116 weekend at this beautiful beach in Oregon on the Oregon 0:17:20.236 --> 0:17:23.876 coast with my friend Sue Ennis that we did a 0:17:23.876 --> 0:17:27.316 whole bunch of songwriting with. And we have a project 0:17:27.476 --> 0:17:31.796 We've been digging through old cassettes for an old CDs 0:17:32.276 --> 0:17:37.036 for like a rarity project that We're just digging out 0:17:37.196 --> 0:17:41.956 with gems and morsels and hysterical little bits and song 0:17:42.036 --> 0:17:46.516 pieces and songwriting jams that turned into other songs that 0:17:46.636 --> 0:17:50.636 would be familiar someday. Stuff like that, and we had 0:17:50.636 --> 0:17:56.356 the blast of all blasts. But listening to a lot 0:17:56.356 --> 0:17:59.676 of those cassette tapes, you could hear Soul of the 0:17:59.756 --> 0:18:03.596 Sea forming, You could hear you know, even It Up, 0:18:03.676 --> 0:18:07.396 the beginnings of Even It Up coming together. And also 0:18:07.556 --> 0:18:11.756 we found the mother load of like Heart when they 0:18:11.756 --> 0:18:14.356 were called before I joined Heart, when they were called 0:18:14.876 --> 0:18:19.516 hocus Pocus in a club called oil Can Harry's in Vancouver. 0:18:19.596 --> 0:18:24.156 Received there's these real surreal tapes that the sound man 0:18:24.316 --> 0:18:27.796 used to get of the live performance to listen back 0:18:27.836 --> 0:18:32.316 and critique from like a ball team, you know. So yeah, 0:18:32.676 --> 0:18:36.076 so there's like a bunch of covers that we used 0:18:36.116 --> 0:18:39.396 to do, you know, a bunch of David Bowie's songs, 0:18:39.436 --> 0:18:42.756 a bunch of deep purple. It's like, oh my god. 0:18:42.996 --> 0:18:47.316 It reminded me how hard those club days were because 0:18:47.436 --> 0:18:49.556 you really had a lot of time to fill and 0:18:50.196 --> 0:18:54.116 probably close to you know, I don't know, five hours 0:18:54.116 --> 0:18:57.516 of music and banter. You really had a lot of 0:18:57.516 --> 0:19:03.316 time to fill and entertainment to provide. 0:19:03.516 --> 0:19:04.876 We have to take a quick break and then we 0:19:05.036 --> 0:19:12.676 back with more from Nancy Wilson and Leah Rose. We're 0:19:12.716 --> 0:19:15.036 back with Lea Rose and Nancy Wilson. 0:19:16.116 --> 0:19:18.596 I was asking Anne about the time in the book 0:19:18.596 --> 0:19:21.356 you talked about there's a period of time where you 0:19:21.436 --> 0:19:25.156 both would hang out with Stevie Nicks. Yeah, especially in 0:19:25.156 --> 0:19:28.196 the seventies when the big Fleetwood Mac albums were coming out. 0:19:28.836 --> 0:19:32.316 I was just curious about the relationship between Heart and 0:19:32.516 --> 0:19:35.516 Fleetwood Mac, and it sounds like you came together more 0:19:35.676 --> 0:19:37.716 in the eighties to hang out. 0:19:38.036 --> 0:19:43.756 Yeah, they were kind of happening right before us, kind 0:19:43.756 --> 0:19:46.836 of as Hart was just starting to tiptoe into the scene, 0:19:47.476 --> 0:19:51.116 and they already had rumors out there, and we were 0:19:51.156 --> 0:19:54.476 just trying so hard to make an album and get 0:19:54.516 --> 0:19:57.036 out there and get a tour or whatever, and they 0:19:57.076 --> 0:20:00.316 were all over the radio, and you know, I felt 0:20:00.356 --> 0:20:03.996 so jealous of that band because there were two women 0:20:04.076 --> 0:20:08.076 in it. It sounded so good together, and they had 0:20:08.076 --> 0:20:10.636 the acoustic guitar kind of thing that I felt like 0:20:10.676 --> 0:20:15.196 I was bringing a lot of into our band. They 0:20:15.276 --> 0:20:17.596 kind of had it already, you know, like something we 0:20:17.596 --> 0:20:20.676 were trying to capture. They had already captured it. So 0:20:20.756 --> 0:20:24.236 I was really like, damn it, what makes us so 0:20:24.396 --> 0:20:28.516 different now? You know? But we did sound very different. 0:20:28.676 --> 0:20:30.716 I mean a lot of it's Anne's voice, you know, 0:20:30.996 --> 0:20:35.076 very signature. You know, the muscle and the power that 0:20:35.156 --> 0:20:41.836 she possesses and the way she sings is completely its 0:20:41.836 --> 0:20:46.396 own things. So lucky for us we had Anne, not 0:20:46.556 --> 0:20:49.996 just it know was soft rock. We had hard rock, 0:20:50.756 --> 0:20:54.436 so we could rock very hard and as quietly as well. 0:20:54.636 --> 0:20:59.076 So we probably had a lot more maybe versatility or something. 0:21:00.236 --> 0:21:02.996 Yeah, I was surprised. I asked Anne about her voice 0:21:02.996 --> 0:21:05.756 and she I asked her when she first realized that 0:21:05.836 --> 0:21:08.436 her voice was so powerful, and she said that she 0:21:08.476 --> 0:21:10.396 didn't think voice was very powerful. 0:21:11.156 --> 0:21:15.156 Yeah, her confidence is hard for her to she's she's 0:21:15.156 --> 0:21:19.276 hard on herself. But when she was a kid, a 0:21:19.436 --> 0:21:23.476 kid kid, and I was maybe nine or eight, we 0:21:23.476 --> 0:21:26.476 were all bunch of Hams, always singing harmonies into the 0:21:26.516 --> 0:21:30.436 family and you know, she would do ethel mermon. She 0:21:30.476 --> 0:21:36.876 would do this no business like show and she could 0:21:37.396 --> 0:21:41.436 just build it like this little kid and our parents 0:21:41.516 --> 0:21:44.636 would be like girls, girls, come on down the stairs, 0:21:44.636 --> 0:21:48.796 you know, and your ethel murmon. So She would just 0:21:49.036 --> 0:21:51.636 you know, blow the people's minds in the living room, 0:21:51.716 --> 0:21:55.796 and she just had this facility, you know, she just 0:21:55.836 --> 0:21:59.156 had these has these pipes that a few people have. 0:22:00.116 --> 0:22:01.316 It's God given. 0:22:02.396 --> 0:22:05.076 Do you think of both your gift as a songwriter, 0:22:05.196 --> 0:22:10.396 a player, a writer AND's voice and gift as a writer. 0:22:11.116 --> 0:22:12.836 Where does that come from in your mind? 0:22:14.036 --> 0:22:19.156 Oh? Well, I think the gift, the music gift comes 0:22:19.196 --> 0:22:22.676 from our parents and our grandparents and our aunts and 0:22:22.716 --> 0:22:28.316 our uncles. Our grandpa was the Irish tenor in the 0:22:28.396 --> 0:22:32.836 local church choir, and both of our mom and dad 0:22:32.876 --> 0:22:36.396 were met in choir when they decided they loved each other. 0:22:36.516 --> 0:22:41.436 And my dad was a singer in a barbershop quartet, 0:22:41.516 --> 0:22:47.156 and my mom was in various ensemble choirs and big choirs, 0:22:47.196 --> 0:22:49.956 and all of us grew up with choirs and choirs 0:22:49.956 --> 0:22:52.716 and harmony, singing in the car on the way to grandma's. 0:22:53.356 --> 0:22:57.276 You know, I think it's generational in our family and 0:22:57.476 --> 0:22:59.996 the love of music and listening to music and Ray 0:23:00.116 --> 0:23:03.436 Charles and Aretha Franklin. We always had a record player, 0:23:03.716 --> 0:23:07.516 you know, and we learned a lot of albums by 0:23:07.596 --> 0:23:14.556 Heart and Harry Bellefonte, Peggy Lee and Judy Garland and 0:23:14.676 --> 0:23:18.356 all of those great singers from that era. We were 0:23:18.396 --> 0:23:23.116 always singing along. Every Christmas. We had the same like 0:23:23.836 --> 0:23:27.156 Big Benjamin Britain Corral going on, and we'd sing in 0:23:27.196 --> 0:23:29.916 the house and decorate the tree singing in the house, 0:23:29.956 --> 0:23:33.716 you know. And you hear about those families, I guess 0:23:33.716 --> 0:23:37.556 we were one of them. Like the Beg's family. They 0:23:37.596 --> 0:23:43.476 were all singing the Jacksons. So it comes really naturally. 0:23:43.516 --> 0:23:46.796 It comes very honestly to both of us, you know, 0:23:46.836 --> 0:23:47.956 from the inside out. 0:23:48.356 --> 0:23:50.516 Oh yeah, and you can feel that too. 0:23:50.996 --> 0:23:56.076 No, it's true. I feel driven by it still, whether 0:23:56.156 --> 0:24:00.476 or not something's happening or going on, or successful or 0:24:00.516 --> 0:24:04.916 not successful. I feel driven to do music and create music, 0:24:05.196 --> 0:24:09.756 write music, play music. And it's like a destiny, you know, 0:24:09.996 --> 0:24:15.516 feeling of destiny because it's what your cellular memory knows. 0:24:16.876 --> 0:24:19.276 When you talk about the eighties now, or when you 0:24:19.316 --> 0:24:23.756 think about the eighties and the first formation of Heart 0:24:23.916 --> 0:24:27.276 started to sort of disintegrate and new players came in. 0:24:28.316 --> 0:24:32.756 You were signed to Capitol Records. They started bringing songwriters in. 0:24:33.796 --> 0:24:36.916 How devastating was that to you and Anne at the time. 0:24:37.516 --> 0:24:41.596 Well, we were kind of victims of longevity in a 0:24:41.636 --> 0:24:46.436 certain way because the styles changes and you wanted to 0:24:46.476 --> 0:24:52.636 not change that much. The mind expanded perspective was turning 0:24:52.716 --> 0:24:56.756 into a cocaine perspective, which was a little more money 0:24:57.036 --> 0:25:02.076 ego sort of driven. Therefore, you know, a stable of 0:25:02.276 --> 0:25:07.996 LA's hit songwriters were employed in tandem with these record 0:25:08.036 --> 0:25:12.316 companies to create the formulaa hits that were expected of 0:25:12.396 --> 0:25:15.636 the time and those big power ballads and you know, 0:25:15.716 --> 0:25:20.636 hairband music and so so we were like reluctantly kind 0:25:20.716 --> 0:25:25.436 of going along for survivals reasons and writing our own 0:25:25.436 --> 0:25:29.276 stuff meanwhile, you know, but we were kind of irritated 0:25:29.316 --> 0:25:33.596 with the whole atmosphere of that. The weather system just 0:25:33.636 --> 0:25:36.756 felt wrong to us, you know, around all of that 0:25:37.516 --> 0:25:41.476