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Speaker 1: Pushkin. Ann Wilson is the powerhouse lead singer of the

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Speaker 1: band Heart, who celebrated classic debut album Dreamboat. Annie came

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Speaker 1: out nearly fifty years ago. Last week, we featured an

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Speaker 1: interview with her sister and longtime bandmatee Nancy Wilson, so

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Speaker 1: make sure to check that out if you haven't already. Today,

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Speaker 1: we'll hear from Anne, who's responsible for belting out and

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Speaker 1: co writing some of Heart's most iconic early hits like

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Speaker 1: Magic Man, Barracuda, and Crazy On You. Four years older

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Speaker 1: than Nancy, Anne was the first Wilson's sister to join Heart,

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Speaker 1: a band that started out as a cabaret cover band.

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Speaker 1: Despite undergoing multiple lineup changes since the seventies, Heart has

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Speaker 1: released top ten albums in nearly every decade in the

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Speaker 1: last fifty years and sold over twenty million albums worldwide.

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Speaker 1: Outside of Heart, Ann has also released solo material, including

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Speaker 1: an album in twenty two three with her band Tripsitter.

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Speaker 1: On today's episode, Lea Rose talks to Ann Wilson about

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Speaker 1: Heart's current world tour and the Elton John albums she

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Speaker 1: sings before every show to warm up her voice. Anne

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Speaker 1: also explains how she would strategically play guitars around her

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Speaker 1: house when having parties at her Seattle home in the

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Speaker 1: nineties to encourage jam sessions with guests like Lane Staley

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Speaker 1: and Chris Cornell, and she remembers singing on stage with

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Speaker 1: Grace Slick and Stevie Nicks, who Anne says really is

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Speaker 1: a witch, but a good one. This is broken record

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Speaker 1: liner notes for the digital age. I'm justin Mitchman. Here's

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Speaker 1: Lea Rose's conversation with Ann Wilson of Heart.

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Speaker 2: Have you reimagined the band at all this time going out?

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Speaker 2: I know it's been five years since Hart has toured.

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Speaker 2: How has the band changed?

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Speaker 3: Will the band has changed completely? Because nothing about it

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Speaker 3: is the same except me and Nancy. Well, Ryan Waters

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Speaker 3: was out in twenty nineteen, and this time we have

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Speaker 3: the Tripsitter Band, which is my solo band as part

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Speaker 3: with Ryan Waters and Nancy and I and it is

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Speaker 3: a fantastic group. It's just wow. Blows me away every

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Speaker 3: time we go and play some of these old Heart songs.

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Speaker 3: You know, with this group of people, they just they

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Speaker 3: understand the music and they just totally explode into it.

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Speaker 3: It's amazing.

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Speaker 2: And the trips that our guys are. From my understanding,

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Speaker 2: they originally were session players in Nashville.

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Speaker 3: They were, and they have reached a point in their careers,

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Speaker 3: all of them where they don't want to do that anymore.

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Speaker 3: Is a way of life. They want their own band.

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Speaker 3: They don't want to just be working, you know, working

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Speaker 3: for other people, doing what other people tell them to do.

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Speaker 3: They want to be in a band where they have

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Speaker 3: a say and they have ideas that get used and

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Speaker 3: you know, it's a real band. And that's what we

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Speaker 3: have with Heart at this point. You know, Heart's had

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Speaker 3: many many iterations over the decades, different lineups and different

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Speaker 3: kinds of things. Sometimes it's more acoustics. Sometimes it's way

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Speaker 3: rock and grungy, almost like in the early two thousands,

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Speaker 3: and sometimes it's pretty traditional a classic art. This is

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Speaker 3: something completely new. I mean, it's huge in some points,

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Speaker 3: really passionate. The dynamics are incredible. I mean, I can't

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Speaker 3: say enough good stuff. I guess I'm just waxing.

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Speaker 2: How do you practice when you're in a rehearsal space

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Speaker 2: before you go out on tour? How can you practice

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Speaker 2: to play arenas since the physical space is so different.

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Speaker 3: Well, what we hear is what we have in our heads.

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Speaker 3: So that's what we practice, not trying to go out

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Speaker 3: and address every foot of airspace in those places because

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Speaker 3: that's impossible. And all the different minds, I mean, if

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Speaker 3: it's a full house in a big place, it's it

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Speaker 3: can be up to twenty thousand different minds you know

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Speaker 3: that are out there. Yeah, and how do you talk

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Speaker 3: to that? So you can't. You just have to get

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Speaker 3: out there and be completely inside the music and inside

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Speaker 3: the lyrics and be there, really mean what you say,

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Speaker 3: be present, be authentic, be all the way there. You know,

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Speaker 3: that's the only thing you can do.

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Speaker 2: When you're performing. Do you tend to lock eyes with

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Speaker 2: certain people in the crowd or do you find yourself

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Speaker 2: just looking past the audience?

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Speaker 3: Well, I don't make an effort to lock eyes with

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Speaker 3: any one person because they think that you mean something

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Speaker 3: by it. You know, maybe you do, maybe you do

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Speaker 3: mean so thing by it. But I tend to be

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Speaker 3: in my head sort of and fluid inside of this

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Speaker 3: big sound pool that we're creating.

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Speaker 2: It sounds awesome.

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Speaker 3: Yeah, so I'll look out and I'll look at the

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Speaker 3: whole panorama. Yeah, if they've got things lit or if

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Speaker 3: it's all twinkle here or something that's pretty amazing to

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Speaker 3: see from the stage.

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Speaker 2: Heart's getting ready to celebrate your fiftieth anniversary. You've seen

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Speaker 2: the crowds change so much over the years, and now

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Speaker 2: everybody has the cell phone. Yeah, does that change the

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Speaker 2: performance for you? The energy of the crowd?

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Speaker 3: It does change things, I gotta say, especially when they

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Speaker 3: come up to the front of the stage and they

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Speaker 3: turn around so that you're in the backdrop and they

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Speaker 3: want to take a selfie with you as a background,

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Speaker 3: you know. I mean, that's that's really distracting, you know,

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Speaker 3: because you just want to sort of jump out of

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Speaker 3: the way, you know, because it's it's yeah, I'm not

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Speaker 3: a backdrop, you know. But I mean, to be fair,

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Speaker 3: it's a big night for them and they want to

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Speaker 3: preserve some little memory of it, so right, why not

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Speaker 3: let them have it.

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Speaker 2: I think I've read that you have an extensive vocal

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Speaker 2: warm up before you go on stage. Can you share

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Speaker 2: some of that with us? What you do to get ready?

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Speaker 3: Yeah, I warm up for about forty five minutes to

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Speaker 3: an hour, and I used to try and do classical

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Speaker 3: like ruin scales and stuff like the vocal coaches teach

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Speaker 3: you to do. But I couldn't sustain that. It's just

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Speaker 3: too boring. So I finally found out that my throat

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Speaker 3: and soul are just as warmed up if I find

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Speaker 3: a couple of records that I love and just sing

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Speaker 3: along with the whole thing. Like for a while last

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Speaker 3: year I was doing Elton John Captain Fantastic in the

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Speaker 3: Brown Dirt Cowboy, just sing along with the whole record

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Speaker 3: every song, and then if there's still some more time,

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Speaker 3: find another one. Sing along with that. Wow and lo

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Speaker 3: and behold, your throat is warmed up. It's not just

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Speaker 3: your throat, it's your whole ability to just be open,

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Speaker 3: you know, your soul.

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Speaker 2: When did you realize that you had such a powerful voice.

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Speaker 3: I've never thought it was that powerful myself, except for

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Speaker 3: a few moments in a few of the songs like

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Speaker 3: Crazy and You that are high and sustained notes. And

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Speaker 3: it's different when you hit a note and just hold it,

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Speaker 3: then if you hit a high note and just go

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Speaker 3: all squirrely all over the place. And I've never been

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Speaker 3: much one for vocal gymnastics.

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Speaker 2: They're like Mariah Carey runs right.

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Speaker 3: Yeah. I like to sing them just simple. So when

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Speaker 3: I realized I could do that I thought, most people

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Speaker 3: don't do this this way, so I must have something.

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Speaker 3: But I don't sit around on my some kind of

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Speaker 3: laurels going wow, you sure have a strong voice. I

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Speaker 3: think my kids would tell you that I have a

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Speaker 3: strong voice. Or people at a birthday party when I

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Speaker 3: sing Happy Birthday along with the crowd.

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Speaker 2: Oh, I would love to hear that. Wow, So that's fascinating.

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Speaker 2: You don't think you have a strong voice.

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Speaker 3: Well, I mean there's some mighty fine singers out there. Yeah.

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Speaker 2: Who are some of your favorite singers right now?

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Speaker 3: Well, I always loved Uton. I think he in the

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Speaker 3: early days. He was one of the people who influenced

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Speaker 3: me the most. Right now, I would think that Billie Eilish.

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Speaker 3: I love the way she sings. I mean it's so

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Speaker 3: refined and so restrained and just calm, you know, beautiful. Yeah,

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Speaker 3: so that I admire that, I really do.

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Speaker 2: Have you tried to do something like that just to

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Speaker 2: play around and see how it would sound.

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Speaker 3: It's all in the song. Yeah, if you hit the

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Speaker 3: right song that has that in it, then you can

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Speaker 3: do it. I think. Yeah. And she and her brother,

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Speaker 3: I mean the stuff they write kill her stuff. I

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Speaker 3: love to see them at these big awards shows, just

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Speaker 3: cleaning up, you know, because it's so you know, anti establishment,

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Speaker 3: you think so. Yeah, I mean, here she comes wearing

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Speaker 3: this total alternative outfit whatever it is, whichever thing she's at,

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Speaker 3: and she looks beautiful. Her brother is just there to

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Speaker 3: support her. They're just you can tell that they're friends, yeah,

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Speaker 3: and that they're they're really tight, you know. I love that.

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Speaker 2: I listen to you and Nancy's audiobook Kicking and Dreaming

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Speaker 2: and was just sort of amazed at how strong the

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Speaker 2: family mythology is in your family, and it really seems

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Speaker 2: like you kept going back to the early days of

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Speaker 2: your family and the stories that were shared in your

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Speaker 2: families when it came to songwriting and decisions you made

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Speaker 2: in your life. And at one point you were talking

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Speaker 2: about this letter that your dad wrote to your mom

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Speaker 2: where he was basically proposing to her, and how that

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Speaker 2: was like the single most foundational work that sort of

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Speaker 2: kept inspiring your songwriting.

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Speaker 3: Yeah.

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Speaker 2: Do you still feel that influence now?

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Speaker 3: Yeah, I'll always feel influenced by both my parents because

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Speaker 3: they were liberal, they were bohemian, they were romantic, and

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Speaker 3: they were smart. You know, they were both intellectuals and

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Speaker 3: they managed to find each other, you know, and their

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Speaker 3: love of poetry and literature really inspires all my songwriting,

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Speaker 3: and I think Nancy's too. Were both we're both pretty romantic.

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Speaker 2: Yeah, when you left home, when you left the Seattle area,

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Speaker 2: you moved to Canada, right when Heart was hocus focused,

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Speaker 2: before the band was even called Heart, and you were

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Speaker 2: living with your first boyfriend, your first love. Did that

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Speaker 2: live up to this mythology in your mind of your parents'

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Speaker 2: bond and their romantic love.

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Speaker 3: Boy, Yeah, it sure did at the beginning. Yeah, it's

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Speaker 3: just like all love affairs, you know, at the very start,

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Speaker 3: it's so as Joni Mitchell says, it's so righteous at

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Speaker 3: the start, you know, yeah, and just powerful and beautiful.

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Speaker 3: But you're young, and your expectation makes it be just

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Speaker 3: that makes it be mythology. It can't survive in the

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Speaker 3: real world, you know, it has to. It has to

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Speaker 3: break down because it's too perfect and that's not what

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Speaker 3: this world is like and what people are like. Especially

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Speaker 3: when you fall in love with somebody, you idealize them

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Speaker 3: to the point where they're just gonna do everything for you,

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Speaker 3: They're going to be your everything. And the minute you

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Speaker 3: do that that's when it starts to break down. I think, Yeah,

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Speaker 3: you got to let people have space, give them the

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Speaker 3: right to be human and the right to be imperfect

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Speaker 3: and not do everything for you.

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Speaker 2: When you wrote Magic Man about that relationship, were you

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Speaker 2: ever embarrassed or did you find yourself holding back because

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Speaker 2: you didn't want your mom to see things that might

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Speaker 2: have been a little bit scandalous at the time.

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Speaker 3: Well, holding back. I think that leaving home and running

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Speaker 3: off to another country with a man was about was

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Speaker 3: not holding back. But yeah, you know, like I didn't

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Speaker 3: rub it in her face that suddenly I was just

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Speaker 3: off sleeping with somebody, right, And she was, for all

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Speaker 3: her romanticism and love she had for our father, she

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Speaker 3: was pretty victorian when it came to sex and stuff.

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Speaker 3: So that was not something that went down easy between us.

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Speaker 3: She just didn't want to think that I was up

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Speaker 3: there blowing it. And that was in the pre Roe v.

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Speaker 3: Wade days before it was legalized. We're back there now.

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Speaker 3: But so mothers were extremely fearful of their daughter's running

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Speaker 3: off and getting into wild sexual relationships and ending up pregnant,

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Speaker 3: not knowing what to do about it, and you know,

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Speaker 3: basically their lives being ruled by that fact from then on.

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Speaker 2: Do you remember having conversations with your mom about that

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Speaker 2: where she was warning you, like, look, this is what

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Speaker 2: could happen to your life.

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Speaker 3: Yeah, she put it differently, though she couched it more

224
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Speaker 3: in h well, this is not dignified. You know. She

225
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Speaker 3: didn't want to have the talk and get all clinical

226
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Speaker 3: and everything. She didn't really want to do that, but

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Speaker 3: she found a way to do it. And it was well,

228
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Speaker 3: if you just go up there and become barefoot and pregnant,

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Speaker 3: you know, that's like pretty trailer park trash. Oh and

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Speaker 3: I guess that wasn't enough to scare me off.

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Speaker 1: Yeah.

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Speaker 2: I thought it was interesting because some of the lyrics

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Speaker 2: and magic Man you it's almost like you're trying to

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Speaker 2: convince your mom about how wonderful this guy is. You know,

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Speaker 2: he's a magic man Mama.

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Speaker 3: Yeah, Well we had many phone calls where she I

237
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Speaker 3: was up in Canada in the cottage with him, and

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Speaker 3: she wanted me to come home. She's, yeah, you got

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Speaker 3: to come home. You're too young for this. You know.

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Speaker 3: I was at nineteen, so I was old enough.

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Speaker 2: Yeah. I was so surprised to too. And maybe it's

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Speaker 2: not surprising for the time. But while you were in

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Speaker 2: Hocus Pocus, you were the front person in the band.

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Speaker 2: After gigs, you would come home the band was all

245
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Speaker 2: living together. You would come home and cook everybody dinner

246
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Speaker 2: and do all the laundry and do all the like

247
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Speaker 2: homemaking duties.

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Speaker 3: Yeah, that didn't last that long. I mean, at first

249
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Speaker 3: I thought how how sweet it was to wash the

250
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Speaker 3: sheets and hang them outside in the fresh air so

251
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Speaker 3: that and then put them back on the bed, you know,

252
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Speaker 3: and try and make a dinner out of some brown

253
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Speaker 3: rice and a couple of onions, you know. But and

254
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Speaker 3: for a while we lived up there in a cabin,

255
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Speaker 3: a cottage thing with Roger Fisher and his wife who

256
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Speaker 3: had just gotten married and received for a wedding gift

257
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Speaker 3: of fifty pounds sack of brown rice, which we all

258
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Speaker 3: ended up living on because we didn't have any money

259
00:16:13,076 --> 00:16:15,476
Speaker 3: when we were putting the band together. So we just

260
00:16:15,516 --> 00:16:18,356
Speaker 3: date brown rice and drank water and called it the

261
00:16:18,396 --> 00:16:21,476
Speaker 3: Georgia Shawa brown rice diet, you know.

262
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Speaker 2: And you can do that back then when you're twenty, yeah,

263
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Speaker 2: and everybody's fine with it, that's right. And that was

264
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Speaker 2: before Nancy joined the band, Yes.

265
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Speaker 3: She joined later in nineteen about seventy three.

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Speaker 1: We have to take a quick break, and then we're

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Speaker 1: back with more from Anne Wilson and Lea Rose. We're

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Speaker 1: back with Lea Rose and Anne Wilson.

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Speaker 2: How did the band change for you when Nancy joined?

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Speaker 3: Well, I was really glad because I felt that art

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Speaker 3: had gone about as far as it could go. We

272
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Speaker 3: didn't have a very good vocal section. I mean, we

273
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Speaker 3: didn't have a very good ability at harmony singing, and

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Speaker 3: we did have an acoustic guitar player, so we were

275
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Speaker 3: stuck doing rock and roll songs, you know, like Johnny

276
00:17:16,636 --> 00:17:19,516
Speaker 3: be Good and Walking the Dog and all that kind

277
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Speaker 3: of stuff that the guys did, and there was kind

278
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Speaker 3: of almost a whole part of the soul of the band.

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Speaker 3: It was missing for me because I had come from

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Speaker 3: doing folk groups with Nancy, where we did heavy harmonies

281
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Speaker 3: and we both played acoustic guitars, and that's so when

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Speaker 3: she joined, she brought that element. She's a fantastic harmony

283
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Speaker 3: singer and a great acoustic player. So all of a sudden,

284
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Speaker 3: heart had a heart, you know, and we just got

285
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Speaker 3: kind of what Led Zeppelin had, which was it can

286
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Speaker 3: go as rock as you want, but it can also

287
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Speaker 3: go as tender as you want down at the very center. Yes,

288
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Speaker 3: and that was really satisfying to me.

289
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Speaker 2: Early on you talked about doing you have sort of

290
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Speaker 2: like a mini led Zeppelin cover section in your shows,

291
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Speaker 2: and one night led Zeppelin actually came and saw you play.

292
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Speaker 3: Well, they didn't stop and watch us, They just walked

293
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Speaker 3: through the room.

294
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Speaker 2: Did you see them walking through?

295
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Speaker 3: Yeah? It was a club in Vancouver called oil Can

296
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Speaker 3: Harry's and they had a big showroom and then they

297
00:18:33,316 --> 00:18:37,156
Speaker 3: had a big party room upstairs, and so we saw

298
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Speaker 3: them kind of trooping through after their concert at the arena.

299
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Speaker 3: You know, when they're done with the Glory gig, they

300
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Speaker 3: come and have a party upstairs and oil Cans and yeah,

301
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Speaker 3: we saw them and we all just about lost it.

302
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Speaker 2: I mean, I imagine they just looked like the sexiest

303
00:18:52,396 --> 00:18:56,276
Speaker 2: rock stars on the planet. Oh yeah, yeah. And then

304
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Speaker 2: the full circle moment of having performed at the Kennedy

305
00:19:00,076 --> 00:19:04,996
Speaker 2: Center for when led Zeppelin was getting honored. How did

306
00:19:05,036 --> 00:19:10,796
Speaker 2: you prepare for that show mentally? Was that completely intimidating

307
00:19:11,036 --> 00:19:13,356
Speaker 2: to you or are you able to just sort of

308
00:19:13,396 --> 00:19:15,476
Speaker 2: switch into show mode and go out there and do

309
00:19:15,556 --> 00:19:17,196
Speaker 2: your thing with full confidence.

310
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Speaker 3: I think that that night I needed an extra measure

311
00:19:22,436 --> 00:19:27,516
Speaker 3: of meditative calmness because I didn't want to go out

312
00:19:27,516 --> 00:19:30,836
Speaker 3: there and start to think about it. You know, that's

313
00:19:30,916 --> 00:19:33,676
Speaker 3: what you really don't want to do. Not only was

314
00:19:33,756 --> 00:19:35,956
Speaker 3: led Zeppelin in the audience, but the you know, the

315
00:19:35,956 --> 00:19:39,836
Speaker 3: President and first Lady, and the audience was just packed

316
00:19:39,876 --> 00:19:46,156
Speaker 3: with all these different luminaries and famous people of all ILKs.

317
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Speaker 3: So I just remember saying to Nancy, let's just pretend

318
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Speaker 3: like we have bowls of water in our heads and

319
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Speaker 3: we have to walk out there without spilling a drop

320
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Speaker 3: and just concentrate on the water on the song, right,

321
00:20:01,836 --> 00:20:05,276
Speaker 3: and nothing else, just be in the song. And so

322
00:20:05,356 --> 00:20:08,596
Speaker 3: we did, and it turned out to be a fun

323
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Speaker 3: experience and one that went really smooth, and nothing went wrong,

324
00:20:14,556 --> 00:20:17,836
Speaker 3: and it was great because you know, after all, what

325
00:20:17,956 --> 00:20:20,716
Speaker 3: could possibly go wrong in a situation like that.

326
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Speaker 2: It's such an emotional performance, and the footage after where

327
00:20:28,196 --> 00:20:31,516
Speaker 2: you see you know, Robert Plant and the band, they're

328
00:20:31,556 --> 00:20:34,476
Speaker 2: sitting there with tears streaming down their face, and then

329
00:20:34,876 --> 00:20:38,356
Speaker 2: you see Barack and Michelle Obama sitting there and John

330
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Speaker 2: Bonham's son is playing with you all on drums. It's

331
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Speaker 2: just so incredibly moving. Yeah, what a feat. It's beautiful,

332
00:20:46,076 --> 00:20:48,876
Speaker 2: beautiful performance. You sounded incredible.

333
00:20:49,556 --> 00:20:52,876
Speaker 3: Oh, thank you. Yeah, it was. It was quite an experience,

334
00:20:53,076 --> 00:20:54,116
Speaker 3: never to be forgotten.

335
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Speaker 2: I read at one point that you opened for the

336
00:20:57,396 --> 00:20:57,916
Speaker 2: bee Gees.

337
00:20:58,556 --> 00:21:00,036
Speaker 3: Yeah, that was real early.

338
00:21:00,756 --> 00:21:03,796
Speaker 2: Did you have any sort of interaction with them another

339
00:21:04,156 --> 00:21:04,876
Speaker 2: family band?

340
00:21:05,636 --> 00:21:08,436
Speaker 3: I don't think at that point we got to interact

341
00:21:08,436 --> 00:21:11,836
Speaker 3: with them. At that point we were pretty much a

342
00:21:11,876 --> 00:21:18,836
Speaker 3: little cabaret band in Canada, and the Begs were doing

343
00:21:18,876 --> 00:21:25,236
Speaker 3: across Canada tour and they needed an opener and we'd

344
00:21:25,276 --> 00:21:29,156
Speaker 3: only done one opening show before that for Rod Stewart,

345
00:21:29,436 --> 00:21:33,156
Speaker 3: so we were by no means ready for that kind

346
00:21:33,196 --> 00:21:36,076
Speaker 3: of exposure, but we got up and did it. You know.

347
00:21:36,956 --> 00:21:40,396
Speaker 3: I was always a huge Beg's fan. All their different

348
00:21:40,436 --> 00:21:47,116
Speaker 3: eras and their psychedelic era and even the disco time

349
00:21:47,196 --> 00:21:49,436
Speaker 3: and all that. I just thought it was all great.

350
00:21:50,156 --> 00:21:53,396
Speaker 3: So yeah, it was really fun standing on this side

351
00:21:53,396 --> 00:21:56,716
Speaker 3: of the stage and listening to them live after we

352
00:21:56,716 --> 00:21:57,516
Speaker 3: were done, you know.

353
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Speaker 2: And so that was already after the first album was.

354
00:22:00,436 --> 00:22:04,596
Speaker 3: Out, Yes, pretty soon after the first album was out.

355
00:22:05,596 --> 00:22:08,396
Speaker 2: What do you remember about recording that first album? Do

356
00:22:08,476 --> 00:22:10,676
Speaker 2: any of the session and stand out in your memory.

357
00:22:11,956 --> 00:22:14,836
Speaker 3: Yeah, I just remember going from zero, from knowing nothing,

358
00:22:14,996 --> 00:22:20,076
Speaker 3: absolutely nothing about being in the studio, to Mike Flicker,

359
00:22:20,156 --> 00:22:24,556
Speaker 3: who was our first producer, mentoring me to be able

360
00:22:24,596 --> 00:22:28,996
Speaker 3: to sing a lead vocal on the songs, Like the

361
00:22:29,036 --> 00:22:31,836
Speaker 3: first one I ever sang was Crazy on You, and

362
00:22:32,796 --> 00:22:36,196
Speaker 3: we were actually doing Crazy on You in clubs at

363
00:22:36,196 --> 00:22:40,396
Speaker 3: that point, and Magic Man. We hadn't written Barracoutie yet,

364
00:22:40,876 --> 00:22:44,356
Speaker 3: but those two other songs we would, you know, we'd

365
00:22:44,396 --> 00:22:48,516
Speaker 3: play our normal club set and then we'd sneak Crazy

366
00:22:48,556 --> 00:22:51,556
Speaker 3: on You in and we'd sneak Magic Men in and

367
00:22:51,636 --> 00:22:54,676
Speaker 3: see what the audience did. And at first they were

368
00:22:54,756 --> 00:22:58,956
Speaker 3: kind of like what, And then they never heard that

369
00:22:59,436 --> 00:23:03,076
Speaker 3: song before, so they were used to let Zeppelin and

370
00:23:03,116 --> 00:23:04,796
Speaker 3: Elton John and the other stuff.

371
00:23:04,796 --> 00:23:06,876
Speaker 2: We were playing the stuff they know.

372
00:23:07,676 --> 00:23:11,356
Speaker 3: Yeah, and then by bit they started to respond to

373
00:23:11,436 --> 00:23:15,996
Speaker 3: those two songs live till it happened that they were

374
00:23:16,036 --> 00:23:20,476
Speaker 3: actually coming unglued. They were applauding and standing up and

375
00:23:20,676 --> 00:23:23,836
Speaker 3: liking those. So we pulled him out to when we

376
00:23:24,556 --> 00:23:26,756
Speaker 3: went and opened for the Bechis and Rod Stewart, we

377
00:23:26,796 --> 00:23:29,516
Speaker 3: actually dared to play our original.

378
00:23:29,116 --> 00:23:31,556
Speaker 2: Stuff, and didn't you get a huge reaction when you

379
00:23:31,596 --> 00:23:33,276
Speaker 2: opened for Rod Stuart because it had been on the

380
00:23:33,396 --> 00:23:34,356
Speaker 2: radio at that point.

381
00:23:34,876 --> 00:23:40,236
Speaker 3: Yeah, we didn't really know it. The communications in those

382
00:23:40,356 --> 00:23:42,436
Speaker 3: days were not like they are now, where you know

383
00:23:42,516 --> 00:23:45,756
Speaker 3: everything that goes on with your record every minute, you know,

384
00:23:47,356 --> 00:23:50,916
Speaker 3: and we didn't really understand that dreamboat And he was

385
00:23:50,956 --> 00:23:56,436
Speaker 3: being played in Montreal by this disc jockey named Doug Pringle.

386
00:23:57,316 --> 00:24:00,316
Speaker 3: He believed in us and he played the record. So

387
00:24:00,396 --> 00:24:04,156
Speaker 3: when we got to Montreal opening for Rod Stewart, we

388
00:24:04,196 --> 00:24:06,836
Speaker 3: walked out on stage to a house full of lip

389
00:24:06,876 --> 00:24:10,596
Speaker 3: matches because they knew our recorda we were just this

390
00:24:10,636 --> 00:24:14,316
Speaker 3: little opener. But wow, you know. So that was just

391
00:24:14,356 --> 00:24:17,596
Speaker 3: a way that we started out in Canada.

392
00:24:17,716 --> 00:24:19,836
Speaker 2: Did that motivate you to want to go in and

393
00:24:19,916 --> 00:24:25,156
Speaker 2: immediately start writing more songs and continue with that specific

394
00:24:25,756 --> 00:24:28,636
Speaker 2: sound of the songs that were doing well at the time.

395
00:24:29,876 --> 00:24:32,796
Speaker 3: Yeah, we wanted to just go ahead and keep on writing,

396
00:24:32,876 --> 00:24:36,396
Speaker 3: you know. And just the experience of writing the first

397
00:24:36,636 --> 00:24:40,476
Speaker 3: two songs was so great and just so much fun

398
00:24:41,316 --> 00:24:44,956
Speaker 3: that we just wanted to keep going. And some of

399
00:24:44,956 --> 00:24:48,236
Speaker 3: the songs we wrote were more rock, but then there

400
00:24:48,236 --> 00:24:50,196
Speaker 3: were a whole bunch of songs on Dreabo Eddie like

401
00:24:50,316 --> 00:24:53,956
Speaker 3: Dreamboat Eddie and love Me Like Music, I'll be your song,

402
00:24:54,036 --> 00:24:57,356
Speaker 3: how deep it goes, Soul of the Sea, ones that

403
00:24:57,396 --> 00:25:00,676
Speaker 3: are really soft at the middle. So it's a mixed

404
00:25:00,716 --> 00:25:03,996
Speaker 3: bag on that record. Nobody could really put their finger

405
00:25:04,076 --> 00:25:06,196
Speaker 3: on what we were going to be, whether it was

406
00:25:06,236 --> 00:25:07,636
Speaker 3: going to be a rock band or what.

407
00:25:08,556 --> 00:25:12,356
Speaker 2: Did you like that sort of keeping people guessing or

408
00:25:12,676 --> 00:25:15,636
Speaker 2: was that more like you didn't know what you guys were.

409
00:25:16,676 --> 00:25:19,836
Speaker 3: We didn't know. We were just formulating, you know.

410
00:25:20,396 --> 00:25:23,996
Speaker 2: Yeah, which album would you say, out of your entire

411
00:25:23,996 --> 00:25:27,316
Speaker 2: discography is the most true to what you think the

412
00:25:27,396 --> 00:25:29,276
Speaker 2: band does best.

413
00:25:29,836 --> 00:25:33,436
Speaker 3: Maybe a Little Queen because it has Right of Me,

414
00:25:33,596 --> 00:25:38,236
Speaker 3: go On Cry and Barracuda, and it's got good ballads

415
00:25:38,236 --> 00:25:40,516
Speaker 3: and it's got good gas rockers, you know.

416
00:25:41,076 --> 00:25:44,676
Speaker 2: Yeah. Do you remember where the photograph for the cover

417
00:25:44,716 --> 00:25:46,036
Speaker 2: of Little Queen was taken?

418
00:25:46,956 --> 00:25:52,156
Speaker 3: Yeah, it was taken in Elesion Park in LA and

419
00:25:52,996 --> 00:25:57,196
Speaker 3: they took us to Western Costumers and got the gypsy clothes.

420
00:25:58,756 --> 00:26:00,716
Speaker 3: In fact, I was wearing my own clothes that day,

421
00:26:00,796 --> 00:26:03,996
Speaker 3: but everybody else was dressed up like a gypsy and

422
00:26:04,996 --> 00:26:07,796
Speaker 3: rented a gypsy painted wagon and a goat and a

423
00:26:07,876 --> 00:26:10,956
Speaker 3: horse and all all this stuff and set up a scene.

424
00:26:11,476 --> 00:26:13,436
Speaker 2: What were you listening to at that time? So that

425
00:26:13,476 --> 00:26:16,276
Speaker 2: came out in seventy seven? What was on the radio?

426
00:26:16,396 --> 00:26:17,236
Speaker 2: What were you into?

427
00:26:18,716 --> 00:26:23,756
Speaker 3: Wow? Seventy seven, still listening to Elton John, listening to

428
00:26:23,796 --> 00:26:29,476
Speaker 3: Steely Dan, listening to Moody Blues and Rolling Stones. It's

429
00:26:29,516 --> 00:26:31,636
Speaker 3: all kinds of cool things. You know.

430
00:26:32,356 --> 00:26:34,956
Speaker 2: You grew up having hoot Nanny's in your house, playing

431
00:26:34,996 --> 00:26:39,836
Speaker 2: instruments with family, singing songs, and then later when you

432
00:26:39,916 --> 00:26:43,036
Speaker 2: lived in Seattle, you would have these big parties and

433
00:26:43,156 --> 00:26:46,236
Speaker 2: have a lot of the people who became like the

434
00:26:46,316 --> 00:26:49,836
Speaker 2: all stars of the grunge movement over and just jam

435
00:26:49,876 --> 00:26:53,556
Speaker 2: and have fun and play. Around that time in the seventies,

436
00:26:53,556 --> 00:26:56,596
Speaker 2: were you doing anything like that playing with other musicians.

437
00:26:56,996 --> 00:27:00,396
Speaker 3: We were mostly playing with the members of the band

438
00:27:00,996 --> 00:27:03,196
Speaker 3: up in Canada. We didn't know a whole lot of

439
00:27:03,236 --> 00:27:07,996
Speaker 3: other musicians. It was different back then. We were kind

440
00:27:07,996 --> 00:27:12,716
Speaker 3: of we were the party and we would have more

441
00:27:12,796 --> 00:27:16,476
Speaker 3: fun just jamming together on stage. Off stage, it really

442
00:27:16,516 --> 00:27:20,156
Speaker 3: didn't matter. We've jam in the living room and then

443
00:27:20,476 --> 00:27:23,076
Speaker 3: back up and go out to the club and jam there.

444
00:27:23,156 --> 00:27:26,836
Speaker 2: You know. Yeah, And at that point, so the late

445
00:27:26,956 --> 00:27:30,596
Speaker 2: seventies did you foresee a long career for the band

446
00:27:30,796 --> 00:27:33,116
Speaker 2: or was it sort of you know, day by day?

447
00:27:33,636 --> 00:27:36,156
Speaker 2: How are you thinking about the band's future.

448
00:27:36,916 --> 00:27:39,876
Speaker 3: Oh, we definitely had a five year plan. I mean,

449
00:27:40,396 --> 00:27:43,636
Speaker 3: our manager would not let us get out of bed

450
00:27:43,676 --> 00:27:48,156
Speaker 3: without a five year plan. But it was good because

451
00:27:48,876 --> 00:27:54,796
Speaker 3: it made sense. It wasn't just ambition. It was more about, Okay,

452
00:27:54,876 --> 00:27:58,836
Speaker 3: we've gone this far. Now we've got these songs, what

453
00:27:58,916 --> 00:28:02,716
Speaker 3: else can we make? You know, We've got Crazy on you,

454
00:28:03,156 --> 00:28:06,556
Speaker 3: We've got Barracuda, We've got all these songs that are great.

455
00:28:07,156 --> 00:28:07,996
Speaker 3: Now what you know?

456
00:28:08,796 --> 00:28:12,316
Speaker 2: What did you do to stir up ideas for inspiration

457
00:28:12,436 --> 00:28:16,316
Speaker 2: for writing songs once those big hits were out and established?

458
00:28:18,196 --> 00:28:18,396
Speaker 1: Yeah?

459
00:28:18,436 --> 00:28:21,276
Speaker 3: I think that many of our songs start from the music,

460
00:28:22,156 --> 00:28:25,716
Speaker 3: and then once I, Nancy and I are just me

461
00:28:26,556 --> 00:28:31,236
Speaker 3: hear the music, it suggests something and then we start

462
00:28:31,236 --> 00:28:34,836
Speaker 3: writing words and then suddenly, lo and behold, you have

463
00:28:34,876 --> 00:28:35,356
Speaker 3: a song.

464
00:28:35,636 --> 00:28:38,796
Speaker 2: You know, do you prefer to be by yourself at

465
00:28:38,836 --> 00:28:41,116
Speaker 2: that point or do you like to be with sitting

466
00:28:41,116 --> 00:28:44,036
Speaker 2: with the other musicians writing words.

467
00:28:44,076 --> 00:28:46,596
Speaker 3: I like to be by myself, no doubt about it.

468
00:28:47,116 --> 00:28:50,236
Speaker 3: But jamming you have to be with other people. You

469
00:28:50,316 --> 00:28:53,516
Speaker 3: have your ideas and they have their ideas and how

470
00:28:53,636 --> 00:28:57,836
Speaker 3: they mix and you spark ideas off each other and

471
00:28:57,996 --> 00:29:00,836
Speaker 3: you can tell when you hit on something and it's great.

472
00:29:01,076 --> 00:29:04,156
Speaker 2: Would people in the band give you feedback on your lyrics,

473
00:29:04,236 --> 00:29:07,836
Speaker 2: say like, ah, maybe this line should be tweaked.

474
00:29:07,516 --> 00:29:08,956
Speaker 3: A little bit occasionally.

475
00:29:09,556 --> 00:29:11,036
Speaker 2: How would you take that as a writer?

476
00:29:11,716 --> 00:29:14,516
Speaker 3: Well, if they did that, I would say, and what

477
00:29:14,556 --> 00:29:17,876
Speaker 3: would you put in its place? And if they had

478
00:29:17,876 --> 00:29:21,996
Speaker 3: a good suggestion, I go, okay, we'll use that. Maybe.

479
00:29:22,436 --> 00:29:25,556
Speaker 3: If they didn't have a good suggestion, I'd say shut up,

480
00:29:27,956 --> 00:29:32,036
Speaker 3: not literally shut up, but just we'll keep it my

481
00:29:32,156 --> 00:29:34,596
Speaker 3: way until you think it's something better. You know.

482
00:29:35,516 --> 00:29:41,436
Speaker 2: Yeah, after the first initial band disbanded, people left and

483
00:29:41,476 --> 00:29:43,396
Speaker 2: there was a new iteration of the group. Was that

484
00:29:43,436 --> 00:29:46,996
Speaker 2: really heartbreaking for you or did you have hope that

485
00:29:47,036 --> 00:29:50,036
Speaker 2: we can create something new and move on.

486
00:29:51,156 --> 00:29:54,676
Speaker 3: It's hard to describe what it was like when that

487
00:29:55,236 --> 00:30:00,356
Speaker 3: lineup disbanded, other than to say that we couldn't get

488
00:30:00,396 --> 00:30:06,436
Speaker 3: along anymore and things got really difficult between us. You know.

489
00:30:07,476 --> 00:30:11,796
Speaker 3: It seemed like the that made heart unusual, which was

490
00:30:12,196 --> 00:30:16,156
Speaker 3: men and women working together as equals, was breaking down,

491
00:30:16,436 --> 00:30:19,956
Speaker 3: and that very thing was the thing that was driving

492
00:30:20,036 --> 00:30:23,796
Speaker 3: us apart from each other. We would just squabble and

493
00:30:24,276 --> 00:30:28,876
Speaker 3: write down gender lines. It would just be really difficult,

494
00:30:29,236 --> 00:30:31,956
Speaker 3: the men gossiping about the girls and the girls gossiping

495
00:30:31,996 --> 00:30:35,676
Speaker 3: about the men. And it didn't help that, you know,

496
00:30:35,796 --> 00:30:38,276
Speaker 3: Nancy and I never looked that fondly on the whole

497
00:30:38,396 --> 00:30:42,596
Speaker 3: world of groupies and having to explain to the band wives, no,

498
00:30:42,796 --> 00:30:45,636
Speaker 3: nothing goes on out there, you know, lie to them

499
00:30:45,676 --> 00:30:49,676
Speaker 3: all the time, and it just got to be weird.

500
00:30:49,876 --> 00:30:53,116
Speaker 2: You know, when you reformulated the band and then bring

501
00:30:53,116 --> 00:30:56,796
Speaker 2: in more men, did it feel like things are going

502
00:30:56,836 --> 00:30:59,196
Speaker 2: to end up differently this time or did it seem

503
00:30:59,276 --> 00:31:02,116
Speaker 2: like maybe it'll kind of play out in the same way.

504
00:31:02,956 --> 00:31:06,836
Speaker 3: Yeah. Well, I always go into every new iteration of

505
00:31:06,916 --> 00:31:12,036
Speaker 3: the band totally optimist, because the world is full of

506
00:31:12,076 --> 00:31:16,956
Speaker 3: good people and just because you play out your relationship

507
00:31:16,996 --> 00:31:20,836
Speaker 3: with some people doesn't mean you don't have one with others.

508
00:31:21,396 --> 00:31:25,716
Speaker 3: And we've been really fortunate to play with some great

509
00:31:25,796 --> 00:31:29,756
Speaker 3: musicians over the years, men and women. And it's not

510
00:31:29,796 --> 00:31:33,556
Speaker 3: really important to us, to me or to Nancy and

511
00:31:33,636 --> 00:31:36,916
Speaker 3: I which gender it is. It really isn't. It's just

512
00:31:37,556 --> 00:31:40,436
Speaker 3: who can do the job, who's a great player, who's

513
00:31:40,436 --> 00:31:43,796
Speaker 3: a great singer, who's a great writer. And we worked

514
00:31:43,796 --> 00:31:50,596
Speaker 3: with Holly Knight and Debbie Cheer and Denny Carmassi on drums,

515
00:31:50,636 --> 00:31:54,756
Speaker 3: and it's just some amazing players. But we never again

516
00:31:54,916 --> 00:31:58,396
Speaker 3: encountered the same kind of emotional hardship we did with

517
00:31:58,436 --> 00:32:00,876
Speaker 3: that first lineup. I think it was because we all

518
00:32:00,916 --> 00:32:04,756
Speaker 3: started out we were poor and destitute, and then we

519
00:32:04,796 --> 00:32:06,836
Speaker 3: had all the success and there was all this money

520
00:32:06,876 --> 00:32:10,316
Speaker 3: that came in, and money change everything, you know, and

521
00:32:10,716 --> 00:32:12,636
Speaker 3: everybody gets kind of different.

522
00:32:13,436 --> 00:32:15,556
Speaker 2: Do you think they start to resent you because you

523
00:32:15,596 --> 00:32:17,676
Speaker 2: were the front person and getting a lot of attention

524
00:32:18,876 --> 00:32:21,276
Speaker 2: and Nancy and you are getting a lot of attention.

525
00:32:22,356 --> 00:32:24,916
Speaker 3: Yeah, there were some of that because they were at

526
00:32:25,356 --> 00:32:27,796
Speaker 3: the men and the band were out there working just

527
00:32:27,876 --> 00:32:32,196
Speaker 3: as hard as us and putting their bodies on the

528
00:32:32,236 --> 00:32:36,396
Speaker 3: line too. But yet whenever we did an interview, Nancy

529
00:32:36,396 --> 00:32:38,556
Speaker 3: and I were the only ones that got talked to

530
00:32:39,236 --> 00:32:42,636
Speaker 3: and got all the attention, you know. And there's nothing

531
00:32:42,756 --> 00:32:45,956
Speaker 3: much that we could do about it. It's just how

532
00:32:45,996 --> 00:32:50,036
Speaker 3: it was. And it really hurt the men's feelings and

533
00:32:50,036 --> 00:32:52,796
Speaker 3: made them angry. So I don't blame them at all.

534
00:32:52,916 --> 00:32:54,516
Speaker 2: Really, Yeah, it's understandable.

535
00:32:55,076 --> 00:32:55,596
Speaker 3: Yeah.

536
00:32:56,036 --> 00:32:58,596
Speaker 2: Are you still in touch with the old members from

537
00:32:58,716 --> 00:32:59,636
Speaker 2: the original line up?

538
00:32:59,756 --> 00:33:03,036
Speaker 3: Yeah, we saw him just a couple months ago when

539
00:33:03,036 --> 00:33:08,356
Speaker 3: we played in Seattle. They all showed up super cool. Yeah.

540
00:33:08,396 --> 00:33:10,556
Speaker 2: And then moving in to the eighties, that was when

541
00:33:10,596 --> 00:33:14,276
Speaker 2: you started the record label, when you signed to Capitol

542
00:33:14,436 --> 00:33:19,636
Speaker 2: started bringing in professional songwriters. Yes, how was that for

543
00:33:19,716 --> 00:33:22,356
Speaker 2: you as a songwriter and as somebody who had been

544
00:33:22,436 --> 00:33:24,076
Speaker 2: the face of this band for so long?

545
00:33:24,476 --> 00:33:27,316
Speaker 3: Yeah? I went back and forth on it. It depended

546
00:33:27,356 --> 00:33:31,116
Speaker 3: on the song. For instance, I thought These Dreams was

547
00:33:31,116 --> 00:33:35,156
Speaker 3: a really great song, just a beautiful song that fit

548
00:33:35,316 --> 00:33:39,236
Speaker 3: Nancy's voice just perfect. It was the ideal marriage, you know.

549
00:33:40,116 --> 00:33:43,196
Speaker 3: But some of the other songs that came our way

550
00:33:43,236 --> 00:33:46,436
Speaker 3: that we did during the eighties, I thought didn't have

551
00:33:46,516 --> 00:33:52,036
Speaker 3: much substance and were pretty calculated. They were just different

552
00:33:52,116 --> 00:33:56,236
Speaker 3: versions of what was being played on the radio right already.

553
00:33:57,116 --> 00:34:00,876
Speaker 3: And uh, I wasn't that fond of that, because you know,

554
00:34:01,756 --> 00:34:03,636
Speaker 3: I was there at the beginning when we had all

555
00:34:03,636 --> 00:34:09,076
Speaker 3: this this beautiful idealism about being poets and all that.

556
00:34:09,716 --> 00:34:12,956
Speaker 2: Are you glad now looking back that you did it

557
00:34:13,076 --> 00:34:17,356
Speaker 2: even though you were fundamentally opposed to it at certain times?

558
00:34:17,396 --> 00:34:20,156
Speaker 2: About what you were singing. Are you glad you tried

559
00:34:20,196 --> 00:34:21,556
Speaker 2: it and stuck with it?

560
00:34:22,076 --> 00:34:24,916
Speaker 3: Sure? Yeah. It was a good experience and it did

561
00:34:25,396 --> 00:34:30,556
Speaker 3: teach me a lot about songwriting, just the basic lesson

562
00:34:30,636 --> 00:34:35,116
Speaker 3: of you don't tax people's attention span. You just don't

563
00:34:35,596 --> 00:34:39,076
Speaker 3: get all selfish and just go, well, this is my vision,

564
00:34:39,676 --> 00:34:41,916
Speaker 3: Like you want to talk directly to them, you know,

565
00:34:42,356 --> 00:34:44,636
Speaker 3: and connect with them. That's what a lot of those

566
00:34:44,636 --> 00:34:47,076
Speaker 3: songs in the eighties had. It was a good listen.

567
00:34:47,396 --> 00:34:48,716
Speaker 2: I love those songs.

568
00:34:49,036 --> 00:34:50,436
Speaker 3: Yeah, some of them are cool.

569
00:34:50,756 --> 00:34:53,636
Speaker 2: Super cool, and I bet the crowd loves them when

570
00:34:53,636 --> 00:34:54,476
Speaker 2: you play them live.

571
00:34:54,716 --> 00:34:57,756
Speaker 3: Yeah, like we used to do at Lisa del Bello

572
00:34:57,916 --> 00:35:02,076
Speaker 3: song called Wait for an Answer that moves through five

573
00:35:02,156 --> 00:35:09,476
Speaker 3: keys and everything, and it's just amazingly powerful song. And

574
00:35:09,516 --> 00:35:12,836
Speaker 3: that taught me so much about how you can have

575
00:35:13,356 --> 00:35:18,276
Speaker 3: a very simple idea and just repeat it only take

576
00:35:18,316 --> 00:35:21,036
Speaker 3: it up a key and then up another key, up

577
00:35:21,076 --> 00:35:24,596
Speaker 3: another key, and then it just changes. Meaning every time

578
00:35:24,636 --> 00:35:26,796
Speaker 3: you go up with these dreams.

579
00:35:27,196 --> 00:35:29,556
Speaker 2: Is that the song that you said you can't sing

580
00:35:29,796 --> 00:35:32,396
Speaker 2: for whatever reason, there's something about that song that you've

581
00:35:32,436 --> 00:35:35,156
Speaker 2: tried it in karaoke and you can't sing it.

582
00:35:36,276 --> 00:35:39,796
Speaker 3: I don't sound that good on these dreams. The times

583
00:35:39,836 --> 00:35:43,156
Speaker 3: I've tried it at karaoke. Yeah, it's just there's something

584
00:35:43,156 --> 00:35:46,636
Speaker 3: about it. It's I feel awkward singing it and I

585
00:35:46,716 --> 00:35:49,516
Speaker 3: sound awkward. That's Nancy's song.

586
00:35:50,356 --> 00:35:52,436
Speaker 2: Do you still not sing all I want to do?

587
00:35:53,116 --> 00:35:55,796
Speaker 2: We haven't done that for a long time. Is it

588
00:35:55,836 --> 00:35:56,756
Speaker 2: going to come back out?

589
00:35:57,236 --> 00:36:00,396
Speaker 3: I don't think so. There's a lot cooler stuff that

590
00:36:00,436 --> 00:36:04,356
Speaker 3: we can bring out than that.

591
00:36:04,356 --> 00:36:07,196
Speaker 2: That song had a big influence on my It was

592
00:36:07,316 --> 00:36:08,796
Speaker 2: very eye opening as a younger.

593
00:36:10,516 --> 00:36:15,396
Speaker 3: Yeah, and just not in a very cool way. But

594
00:36:16,276 --> 00:36:20,356
Speaker 3: now I'm being my mother. You know, that's my mother talking.

595
00:36:22,876 --> 00:36:24,756
Speaker 1: We have to take another quick break and then we'll

596
00:36:24,756 --> 00:36:27,516
Speaker 1: be back with more from Leo Rose and Anne Wilson.

597
00:36:31,916 --> 00:36:34,636
Speaker 1: We're back with the rest of Leo Rose's conversation with

598
00:36:34,756 --> 00:36:35,476
Speaker 1: Anne Wilson.

599
00:36:36,436 --> 00:36:38,596
Speaker 2: In your book, you talked about some of the compromises

600
00:36:38,636 --> 00:36:41,556
Speaker 2: you made in the eighties were a devil's bargain, which

601
00:36:41,596 --> 00:36:44,636
Speaker 2: you were wearing, the types of songs you were performing.

602
00:36:45,476 --> 00:36:48,156
Speaker 2: How did you manage to push past that era?

603
00:36:49,156 --> 00:36:53,196
Speaker 3: Oh? You just live one breath after another, you know,

604
00:36:53,316 --> 00:36:58,356
Speaker 3: you just keep on going. And I always believed in heart,

605
00:36:58,956 --> 00:37:02,036
Speaker 3: I always believe that we would emerge from that, and

606
00:37:02,796 --> 00:37:06,116
Speaker 3: that we would come up again and be writing our

607
00:37:06,156 --> 00:37:09,596
Speaker 3: own type of music about the things we wanted to

608
00:37:09,636 --> 00:37:12,876
Speaker 3: write about, and that people would like them, maybe not

609
00:37:12,996 --> 00:37:16,276
Speaker 3: on the same massive level, but on a level.

610
00:37:17,356 --> 00:37:19,796
Speaker 2: Does that matter to you if as someone who as

611
00:37:19,796 --> 00:37:24,196
Speaker 2: a musician has experienced both the massive arena level and

612
00:37:24,236 --> 00:37:26,676
Speaker 2: then also you do a lot of small shows that

613
00:37:26,716 --> 00:37:30,716
Speaker 2: are very intimate as a songwriter, as a musician, as

614
00:37:30,756 --> 00:37:33,756
Speaker 2: a singer, does it matter to you? Or is all

615
00:37:33,796 --> 00:37:35,876
Speaker 2: that matters is just performing?

616
00:37:36,516 --> 00:37:39,116
Speaker 3: When I'm doing it, It's all that matters is just

617
00:37:39,196 --> 00:37:43,476
Speaker 3: the performing. I think other people care more about the

618
00:37:43,556 --> 00:37:46,876
Speaker 3: level of success than I do. You know, I've been

619
00:37:47,796 --> 00:37:53,236
Speaker 3: accused of not caring enough about writing commercial songs, and

620
00:37:53,636 --> 00:37:58,356
Speaker 3: I admit I'm guilty. I just want to write lovely songs.

621
00:37:58,396 --> 00:37:59,836
Speaker 3: I want to write cool stuffs.

622
00:38:00,596 --> 00:38:01,676
Speaker 2: Are you writing right now?

623
00:38:02,316 --> 00:38:05,716
Speaker 3: Yeah? I am, And I'm just about to go down

624
00:38:05,796 --> 00:38:09,356
Speaker 3: to Nashville and hang out with the Trip Sitters and

625
00:38:10,316 --> 00:38:11,396
Speaker 3: write some more songs.

626
00:38:11,836 --> 00:38:13,716
Speaker 2: What about the love Mongers? Are they ever going to

627
00:38:13,756 --> 00:38:14,476
Speaker 2: get back together?

628
00:38:15,076 --> 00:38:19,156
Speaker 3: Oh? Love Mongers? Yeah? Now that was a vocal group. Yeah,

629
00:38:19,556 --> 00:38:24,356
Speaker 3: that was some gorgeous vocals. I don't know, I hope.

630
00:38:24,396 --> 00:38:27,316
Speaker 3: So that was a fun band. It was really fun.

631
00:38:27,836 --> 00:38:31,476
Speaker 2: So that was Nancy, yourself and your old friend Sue.

632
00:38:31,836 --> 00:38:35,396
Speaker 3: Uh huh, and our other friend Frank Cox. Frank has

633
00:38:35,436 --> 00:38:40,476
Speaker 3: a beautiful tenor voice, and I was playing bass and singing.

634
00:38:41,116 --> 00:38:44,236
Speaker 3: So we had really a good three part harmonies and

635
00:38:45,596 --> 00:38:48,356
Speaker 3: we could do whatever we wanted. We didn't do much

636
00:38:48,356 --> 00:38:52,356
Speaker 3: heart stuff. We used the Love Mongers as an escape

637
00:38:52,356 --> 00:38:56,956
Speaker 3: from heart for a while. Just after the eighties. We

638
00:38:57,076 --> 00:39:00,116
Speaker 3: just we went into lovemngerland for a while and just

639
00:39:00,236 --> 00:39:01,356
Speaker 3: did whatever we wanted.

640
00:39:02,476 --> 00:39:04,276
Speaker 2: Is that around the time that you were back in

641
00:39:04,356 --> 00:39:07,636
Speaker 2: Seattle and starting to hang out with some of the

642
00:39:07,716 --> 00:39:09,516
Speaker 2: musicians that were coming up, And.

643
00:39:09,876 --> 00:39:14,636
Speaker 3: Yeah, and oddly enough, a lot of those musicians that

644
00:39:14,716 --> 00:39:19,996
Speaker 3: were part of the Seattle community then loved the Lovemongers

645
00:39:20,036 --> 00:39:22,996
Speaker 3: and we loved them, and we'd all show up at

646
00:39:23,036 --> 00:39:25,956
Speaker 3: each other's shows and it didn't matter that it was

647
00:39:25,996 --> 00:39:29,356
Speaker 3: at this little club that it really didn't matter. Yeah,

648
00:39:29,796 --> 00:39:33,516
Speaker 3: it was just about the music and about playing camaraderie.

649
00:39:33,796 --> 00:39:36,956
Speaker 2: You've said that musicians from Seattle aren't just going to

650
00:39:37,036 --> 00:39:40,196
Speaker 2: be nice about a song because you're sitting there playing it.

651
00:39:40,316 --> 00:39:45,156
Speaker 2: They're really honest about their feedback yes, they are. Yeah.

652
00:39:45,516 --> 00:39:48,116
Speaker 2: Can you remember a time where you were had an

653
00:39:48,116 --> 00:39:54,556
Speaker 2: interaction with a Seattle musician and you're just like, oh yeah.

654
00:39:54,436 --> 00:39:57,436
Speaker 3: Jerry Cantrell, he told me on a number of occasions

655
00:39:57,876 --> 00:40:01,436
Speaker 3: it was one of the ballads, the more commercial ballads

656
00:40:01,436 --> 00:40:03,876
Speaker 3: from the eighties. Maybe it was all I want to do.

657
00:40:04,756 --> 00:40:08,236
Speaker 3: But he just said to me, that is such bullshit.

658
00:40:08,356 --> 00:40:13,276
Speaker 3: That is such bullshit now, Barracuda, That's great, that's the shit,

659
00:40:13,436 --> 00:40:13,636
Speaker 3: you know.

660
00:40:15,596 --> 00:40:18,676
Speaker 2: And you're like, I agree with you, I agree with you.

661
00:40:20,276 --> 00:40:22,276
Speaker 2: When everybody would come over to your house and play

662
00:40:22,316 --> 00:40:24,556
Speaker 2: at those parties, what would you how does that happen?

663
00:40:24,716 --> 00:40:27,636
Speaker 2: Like people start out drinking and then eventually people pick

664
00:40:27,716 --> 00:40:30,756
Speaker 2: up instruments and are just playing songs or what was

665
00:40:30,836 --> 00:40:31,236
Speaker 2: this scene?

666
00:40:31,356 --> 00:40:31,516
Speaker 1: Like?

667
00:40:32,356 --> 00:40:35,356
Speaker 3: Well, I was no fool. I would always have in

668
00:40:35,436 --> 00:40:39,356
Speaker 3: my living room. I'd have guitars laying around casually, you know,

669
00:40:39,436 --> 00:40:44,156
Speaker 3: laying and a piano and a couple of little amps.

670
00:40:44,756 --> 00:40:50,156
Speaker 3: Usually it would happen after somebody's concert and everyone would

671
00:40:50,156 --> 00:40:54,116
Speaker 3: show up for the concert, and then whoever was free

672
00:40:54,156 --> 00:40:58,036
Speaker 3: afterward would show up at my house and they'd all

673
00:40:58,596 --> 00:41:03,236
Speaker 3: come in and start drinking beers and smoking Ciggi's and

674
00:41:03,276 --> 00:41:08,396
Speaker 3: sitting up on my counters and just then, pretty soon

675
00:41:08,396 --> 00:41:12,276
Speaker 3: somebody had start to blay, what do you remember being

676
00:41:12,316 --> 00:41:15,036
Speaker 3: played then? And who do you remember being there? I

677
00:41:15,036 --> 00:41:22,196
Speaker 3: remember one time John Waits was there, Lane Stay the Pearl,

678
00:41:22,276 --> 00:41:27,596
Speaker 3: Jam guys, the Artist's spoon man, Chris Cornell and Kim

679
00:41:27,676 --> 00:41:29,916
Speaker 3: Thale and oh them.

680
00:41:30,196 --> 00:41:31,956
Speaker 2: What was it like singing with Chris Cornell?

681
00:41:32,476 --> 00:41:36,836
Speaker 3: Beautiful? He's like one of those naturals, like he comes

682
00:41:36,876 --> 00:41:40,796
Speaker 3: from a musical family too. And not only did I

683
00:41:40,836 --> 00:41:44,476
Speaker 3: know Chris, I knew his sister Maggie, who's a great

684
00:41:44,476 --> 00:41:48,116
Speaker 3: singer too, So it was easy as pie to sing

685
00:41:48,156 --> 00:41:50,396
Speaker 3: with chris beautiful voice.

686
00:41:50,676 --> 00:41:55,556
Speaker 2: Yeah, was there ever any stories about Jimmy Hendrix, another

687
00:41:55,596 --> 00:41:58,356
Speaker 2: Seattle musician, Like was he part of the Laura at all?

688
00:41:59,356 --> 00:42:02,236
Speaker 3: I never met Jimmy myself, but I did go and

689
00:42:02,276 --> 00:42:04,556
Speaker 3: poke my head into Jimmy's apartment one time.

690
00:42:05,476 --> 00:42:07,916
Speaker 2: Oh how did that happen?

691
00:42:07,596 --> 00:42:11,756
Speaker 3: When he lived in Seattle, when he was just a

692
00:42:11,796 --> 00:42:15,436
Speaker 3: young guy before he blew the coop? You know. Yeah,

693
00:42:15,636 --> 00:42:19,116
Speaker 3: just I was going to art college and somebody wanted

694
00:42:19,156 --> 00:42:22,636
Speaker 3: to go pick up some weed or something, and we

695
00:42:22,716 --> 00:42:27,996
Speaker 3: stopped at this little apartment and they went look around

696
00:42:28,676 --> 00:42:31,836
Speaker 3: this is a famous apartment, you know. I mean the

697
00:42:31,836 --> 00:42:34,116
Speaker 3: people who were living there then were not Jimmy. But

698
00:42:35,036 --> 00:42:38,716
Speaker 3: look around. This place has much vibe, you know, yeah,

699
00:42:38,916 --> 00:42:39,596
Speaker 3: trying to feel the.

700
00:42:39,636 --> 00:42:43,756
Speaker 2: Vibe, Jimmy, that's so cool. What stands out in your

701
00:42:43,756 --> 00:42:46,516
Speaker 2: mind when you think about the seventies or eighties? What

702
00:42:46,716 --> 00:42:50,196
Speaker 2: was the biggest rock star moment that you had. Once

703
00:42:50,236 --> 00:42:53,676
Speaker 2: the band started to pick up notoriety, we looked at

704
00:42:53,756 --> 00:42:57,116
Speaker 2: maybe looked at Nancy, like, whoa, this is big time.

705
00:42:58,556 --> 00:43:01,796
Speaker 3: As time goes along, you meet just about everybody. They

706
00:43:01,916 --> 00:43:05,996
Speaker 3: usually end up just being people, but that doesn't mean

707
00:43:06,036 --> 00:43:10,196
Speaker 3: they're disappointing. Meant a lot of cool people and some

708
00:43:10,556 --> 00:43:13,596
Speaker 3: who yes, we're just folks, you know.

709
00:43:14,316 --> 00:43:14,676
Speaker 2: Yeah.

710
00:43:14,756 --> 00:43:17,996
Speaker 3: You think they're gonna be like so grand and everything,

711
00:43:18,076 --> 00:43:21,036
Speaker 3: and then they're just like, hey, Hi, how are you.

712
00:43:22,796 --> 00:43:24,876
Speaker 2: Well. I know that there was stories about you hanging

713
00:43:24,876 --> 00:43:27,236
Speaker 2: out with Stevie Nicks. That's always seemed like.

714
00:43:27,236 --> 00:43:30,716
Speaker 3: Oh yeah, she jumped on her plane for a few days.

715
00:43:31,356 --> 00:43:33,556
Speaker 3: We had a number one record, that's what it was.

716
00:43:33,916 --> 00:43:37,756
Speaker 3: That was The Magnetism, and we were playing in San Francisco.

717
00:43:37,956 --> 00:43:41,276
Speaker 3: She came out to the show and got up on

718
00:43:41,356 --> 00:43:45,996
Speaker 3: stage with us and with Grace Slick to sing on

719
00:43:46,036 --> 00:43:50,316
Speaker 3: what About Love? And after the show she said, gee,

720
00:43:50,316 --> 00:43:52,156
Speaker 3: I kind of hate to say goodbye to you guys.

721
00:43:52,156 --> 00:43:54,636
Speaker 3: Where are you going next? And they said, well, we're

722
00:43:54,676 --> 00:43:56,956
Speaker 3: going to Phoenix, And it just so happened that Stevie

723
00:43:56,996 --> 00:44:01,396
Speaker 3: has another house in Phoenix. So she got on our

724
00:44:01,436 --> 00:44:04,316
Speaker 3: plane the next day and we all went out to

725
00:44:04,316 --> 00:44:07,916
Speaker 3: Phoenix and went to her house and hung out after

726
00:44:07,956 --> 00:44:14,036
Speaker 3: our show. And that's an eye opener. It's cool because

727
00:44:14,036 --> 00:44:18,596
Speaker 3: she's she's everything she says. I mean she's a white witch.

728
00:44:18,716 --> 00:44:22,756
Speaker 3: I mean she's definitely got her her self image down

729
00:44:22,836 --> 00:44:26,516
Speaker 3: and together. She's very smart, super creative.

730
00:44:27,276 --> 00:44:28,636
Speaker 2: Did you get to sing with her at all?

731
00:44:29,116 --> 00:44:30,956
Speaker 3: Just when she got up on stage with us?

732
00:44:31,236 --> 00:44:34,396
Speaker 2: Okay, so when you're hanging out, you didn't sit around singing, And.

733
00:44:35,276 --> 00:44:40,276
Speaker 3: No, we mostly listen to each other talk. I don't know.

734
00:44:40,356 --> 00:44:44,916
Speaker 3: You don't have that much to say really that you

735
00:44:44,956 --> 00:44:47,956
Speaker 3: don't all feel as a group because you are all

736
00:44:47,996 --> 00:44:49,476
Speaker 3: going through the same experiences.

737
00:44:50,196 --> 00:44:53,316
Speaker 2: How is that for you coming home in between stops

738
00:44:53,316 --> 00:44:55,756
Speaker 2: on tour, when you would go home and see your

739
00:44:55,796 --> 00:44:59,436
Speaker 2: parents and see your older sister Lynn, was it hard

740
00:44:59,636 --> 00:45:01,876
Speaker 2: to relate to them and sort of come down from

741
00:45:01,916 --> 00:45:02,716
Speaker 2: being on the road.

742
00:45:03,676 --> 00:45:07,036
Speaker 3: Yeah, everyone tells you that you've changed and that you're

743
00:45:07,476 --> 00:45:10,116
Speaker 3: faking it, you're not the same person, and you know,

744
00:45:10,196 --> 00:45:14,356
Speaker 3: like everyone's always really disappointed in you because you're living

745
00:45:14,396 --> 00:45:17,956
Speaker 3: on this big, inflated level. But that's how it gets.

746
00:45:18,036 --> 00:45:20,436
Speaker 3: When you're out on those big doors like that, you

747
00:45:20,476 --> 00:45:24,636
Speaker 3: live in a bubble of safety and security and you're

748
00:45:24,636 --> 00:45:28,316
Speaker 3: protected from people just because, for one, you don't want

749
00:45:28,356 --> 00:45:33,276
Speaker 3: to get sick, and for two, some people can be dangerous,

750
00:45:33,596 --> 00:45:36,196
Speaker 3: so you have to have protection from all of that,

751
00:45:36,636 --> 00:45:38,996
Speaker 3: you know, And you get used to it and you

752
00:45:39,076 --> 00:45:41,156
Speaker 3: go home and you're kind of like, don't come near me,

753
00:45:41,316 --> 00:45:41,476
Speaker 3: you know.

754
00:45:43,556 --> 00:45:45,476
Speaker 2: Yeah, I imagine you need a couple of weeks to

755
00:45:45,556 --> 00:45:46,716
Speaker 2: kind of reformulate.

756
00:45:47,516 --> 00:45:50,476
Speaker 3: Yes, indeed, does that take.

757
00:45:50,356 --> 00:45:53,836
Speaker 2: A lot of mental preparation for you to be removed

758
00:45:53,876 --> 00:45:56,396
Speaker 2: from your space, from your home and know you'll be

759
00:45:56,516 --> 00:45:57,436
Speaker 2: sort of a nomad.

760
00:45:57,956 --> 00:46:01,756
Speaker 3: Takes a lot of relaxation out there. That's the main

761
00:46:01,796 --> 00:46:05,956
Speaker 3: thing for me is just to relax enough to have

762
00:46:06,036 --> 00:46:08,876
Speaker 3: fun with it and not get all freaked out, you

763
00:46:08,916 --> 00:46:12,836
Speaker 3: know about not being home and being tired or whatever.

764
00:46:13,236 --> 00:46:16,156
Speaker 3: Like the things that are hard about touring, which is

765
00:46:16,196 --> 00:46:17,196
Speaker 3: the travel.

766
00:46:17,236 --> 00:46:19,996
Speaker 2: Are you traveling on buses mostly when you're in the.

767
00:46:20,036 --> 00:46:24,396
Speaker 3: US, Yes, on buses. However, over in Europe they don't

768
00:46:24,396 --> 00:46:27,236
Speaker 3: do that anymore because of the European Union has broken up,

769
00:46:27,876 --> 00:46:30,596
Speaker 3: so you can't just go from country to country on

770
00:46:30,636 --> 00:46:33,996
Speaker 3: a bus. You have to go through customs and all that.

771
00:46:34,436 --> 00:46:37,956
Speaker 3: The bus can't leave the country, you know, So it's

772
00:46:38,076 --> 00:46:39,836
Speaker 3: much more complex now over there.

773
00:46:40,396 --> 00:46:44,036
Speaker 2: After taking the five year break from touring with Heart,

774
00:46:44,436 --> 00:46:47,316
Speaker 2: how did you and Nancy come back together? Why did

775
00:46:47,396 --> 00:46:49,516
Speaker 2: you decide to tour now?

776
00:46:49,956 --> 00:46:53,316
Speaker 3: It was time, There was no longer any reason to

777
00:46:53,956 --> 00:46:56,636
Speaker 3: hold off on it. I spent pretty much all of

778
00:46:56,756 --> 00:46:59,836
Speaker 3: last year touring with Trips that Are, and we did

779
00:46:59,876 --> 00:47:04,236
Speaker 3: a hundred shows and seven months. I thought, well, the

780
00:47:04,316 --> 00:47:06,956
Speaker 3: time is right. Let's see if we can bring back

781
00:47:07,036 --> 00:47:11,476
Speaker 3: the big guns. And she was into it. We had

782
00:47:11,516 --> 00:47:14,556
Speaker 3: some negotiations to do, who's going to be in the band,

783
00:47:14,916 --> 00:47:17,556
Speaker 3: what type of a show we're going to do, but

784
00:47:17,676 --> 00:47:20,476
Speaker 3: we we came to understandings and all that.

785
00:47:21,236 --> 00:47:23,316
Speaker 2: I was looking through your Instagram and I saw that

786
00:47:23,436 --> 00:47:28,796
Speaker 2: you have some scattered posts about meditation and quotes from

787
00:47:28,876 --> 00:47:33,916
Speaker 2: Ramdas and other things. When you're talking about relaxation before

788
00:47:33,956 --> 00:47:36,836
Speaker 2: the shows, what are some techniques that you use to

789
00:47:36,876 --> 00:47:38,116
Speaker 2: get into a good headspace.

790
00:47:38,876 --> 00:47:42,596
Speaker 3: I like to listen to music that is meditational, the

791
00:47:42,636 --> 00:47:46,996
Speaker 3: space around a drone, you know, just calming down that way, breathing.

792
00:47:47,876 --> 00:47:50,396
Speaker 3: I don't want to build up. I want to chill

793
00:47:50,476 --> 00:47:54,116
Speaker 3: down before a show, so I walk out there completely

794
00:47:54,916 --> 00:47:58,436
Speaker 3: calm and collected. And so those are the main things.

795
00:47:58,556 --> 00:48:00,836
Speaker 3: Is just relax into it.

796
00:48:01,396 --> 00:48:04,556
Speaker 2: And then when you make that transition from backstage to

797
00:48:04,636 --> 00:48:08,116
Speaker 2: stepping out on stage in an arena filled with people,

798
00:48:08,156 --> 00:48:11,476
Speaker 2: filled with energy, is it hard to make that switch

799
00:48:11,556 --> 00:48:11,916
Speaker 2: for you?

800
00:48:12,876 --> 00:48:16,476
Speaker 3: Well, it depends on how tired I am. I guess

801
00:48:17,236 --> 00:48:19,476
Speaker 3: if it's a good night and everything's clicking and I

802
00:48:19,556 --> 00:48:23,956
Speaker 3: feel good, then it's not hard. But if something's gone on,

803
00:48:24,316 --> 00:48:27,876
Speaker 3: or you know, something's wrong within the band, like someone's

804
00:48:27,916 --> 00:48:30,436
Speaker 3: sick or something like that, it's a little harder to

805
00:48:31,276 --> 00:48:34,396
Speaker 3: go out there with all the engines, the resting.

806
00:48:34,996 --> 00:48:37,436
Speaker 2: At what point in the tour would you say is

807
00:48:37,476 --> 00:48:41,156
Speaker 2: the best to see heart Would it be in the

808
00:48:41,196 --> 00:48:44,596
Speaker 2: beginning parts of the tour, the middle, the ladder.

809
00:48:44,356 --> 00:48:49,236
Speaker 3: And Oh, that's impossible to say. I think it's different

810
00:48:49,276 --> 00:48:52,356
Speaker 3: every tour. I don't know how this band is going

811
00:48:52,436 --> 00:48:55,876
Speaker 3: to develop because It really is like a development over

812
00:48:55,916 --> 00:48:59,916
Speaker 3: a tour. You go out and you're just you've fresh

813
00:48:59,996 --> 00:49:04,916
Speaker 3: aut rearsal and everything's just all perfect, and then you

814
00:49:05,036 --> 00:49:09,676
Speaker 3: start to open up like a big flower. Yeah, you

815
00:49:09,716 --> 00:49:12,556
Speaker 3: figure out where it is that the audience and yourself

816
00:49:12,636 --> 00:49:17,476
Speaker 3: really connect and grow with those places. So if you

817
00:49:17,516 --> 00:49:19,196
Speaker 3: see us halfway through the tour, it's going to be

818
00:49:19,236 --> 00:49:21,236
Speaker 3: different than the first couple of nights.

819
00:49:21,556 --> 00:49:24,556
Speaker 2: Yeah. Do you have the same set list every show

820
00:49:24,636 --> 00:49:26,116
Speaker 2: or does a set list change?

821
00:49:26,796 --> 00:49:30,316
Speaker 3: It will change. We have a bunch of stuff worked

822
00:49:30,316 --> 00:49:34,436
Speaker 3: out that we can interchange whenever we like, and sometimes

823
00:49:34,476 --> 00:49:39,516
Speaker 3: we're writing so things can just be popped in. So yeah,

824
00:49:39,836 --> 00:49:40,956
Speaker 3: it'll change definitely.

825
00:49:41,996 --> 00:49:43,876
Speaker 2: Is there any sort of preview you can give us

826
00:49:43,916 --> 00:49:45,516
Speaker 2: about what type of show it will be.

827
00:49:46,196 --> 00:49:49,916
Speaker 3: It's gonna look beautiful. It is gonna be a combination

828
00:49:51,076 --> 00:49:56,476
Speaker 3: of heart songs, no covers, all heart songs, and a

829
00:49:56,516 --> 00:49:59,276
Speaker 3: couple of new songs, a new Nancy song and a

830
00:49:59,316 --> 00:50:00,396
Speaker 3: new and song.

831
00:50:00,836 --> 00:50:03,236
Speaker 2: Tell me about the last thing you've written that you're

832
00:50:03,476 --> 00:50:04,636
Speaker 2: really excited about.

833
00:50:05,756 --> 00:50:08,996
Speaker 3: Oh, I just got through making an album with Trips

834
00:50:09,356 --> 00:50:13,716
Speaker 3: that is called Another Door and came out so good.

835
00:50:14,036 --> 00:50:16,956
Speaker 3: That is what I'm really proud of. Right now, because

836
00:50:16,996 --> 00:50:21,276
Speaker 3: I was the sole lyric writer on all the songs

837
00:50:21,436 --> 00:50:25,116
Speaker 3: and it really taught me a lot. I learned a

838
00:50:25,156 --> 00:50:28,196
Speaker 3: lot about how to do it and just when to

839
00:50:29,036 --> 00:50:32,236
Speaker 3: edit myself and when not too. You know that's so important.

840
00:50:32,916 --> 00:50:34,756
Speaker 2: Well, thank you so much for taking the time to

841
00:50:34,796 --> 00:50:35,396
Speaker 2: talk today.

842
00:50:35,636 --> 00:50:36,836
Speaker 3: Nice to talk to you. Thank you.

843
00:50:40,036 --> 00:50:43,156
Speaker 1: Thanks Dan Wilson for talking about heart storied history. You

844
00:50:43,196 --> 00:50:45,596
Speaker 1: can see Anna her sister Nancy on tour with Heart

845
00:50:45,636 --> 00:50:48,596
Speaker 1: through December, and you can hear our favorite songs from Heart,

846
00:50:48,596 --> 00:50:51,276
Speaker 1: along with their various side projects on a playlist at

847
00:50:51,276 --> 00:50:55,236
Speaker 1: broken record podcast dot com. Subscribe to our YouTube channel

848
00:50:55,276 --> 00:50:58,156
Speaker 1: at YouTube dot com slash broken Record Podcast, where you

849
00:50:58,196 --> 00:51:01,476
Speaker 1: can find all of our new episodes. You can follow

850
00:51:01,516 --> 00:51:04,996
Speaker 1: us on Twitter at broken Record. Broken Record is produced

851
00:51:05,036 --> 00:51:07,876
Speaker 1: and edited by Leah Rose, with marketing help from Eric

852
00:51:07,916 --> 00:51:12,316
Speaker 1: Sandler and Jordan mcmill. Our engineer is Ben Tollinday. Broken

853
00:51:12,356 --> 00:51:15,676
Speaker 1: Record is a production of Pushkin Industries. If you love

854
00:51:15,716 --> 00:51:19,836
Speaker 1: this show and others from Pushkin, consider subscribing to Pushkin Plus.

855
00:51:20,396 --> 00:51:23,716
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

856
00:51:23,796 --> 00:51:26,516
Speaker 1: and ad free listening for four ninety nine a month.

857
00:51:27,196 --> 00:51:31,116
Speaker 1: Look for Pushkin Plus on Apple Podcast subscriptions, and if

858
00:51:31,116 --> 00:51:33,556
Speaker 1: you like this show, please remember to share, rate, and

859
00:51:33,596 --> 00:51:36,436
Speaker 1: review us on your podcast app Our theme music's by

860
00:51:36,476 --> 00:51:38,396
Speaker 1: Kenny Beats. I'm justin Richmond.