
From founding classic-rock titans Heart, to forming her band Roadcase Royale, to scoring films, Wilson has been making music for more than half a century. Now comes her first solo album, You and Me, which includes a fingerstyle tribute to a dear friend, Edward Van Halen.
Nancy Wilson is a bona-fide rock legend. From founding classic-rock giants Heart—alongside her sister, Ann Wilson—to four Grammy nominations, being inducted into the Rock & Roll Hall of Fame in 2013, and scoring films, this 6-stringer has had a legendary career. And now she is releasing her first solo album, You and Me.
Since the 1970s, Heart has been one of the most respected rock bands of all time. With hits like "Barracuda," "Magic Man," and "Crazy on You," the group showed what a pair of rock 'n' roll sisters from Seattle could do, and laid the foundation for a career spanning more than half a century.
Though the band was riding high throughout the '70s, times changed in the '80s. It became all about L.A. glitz, glamour, and hairspray. Unlike many of their contemporaries, Heart embraced the new era, reaching even higher levels of success. But it didn't come without a cost, leaving the sisters longing for home as the decade came to a close.
Nancy Wilson "Daughter" OFFICIAL MUSIC VIDEO
Nancy covers the Pearl Jam hit "Daughter."
"At the end of the '80s, it was kind of done for us," Wilson says. "It was such a different kind of era that we came from. Because of MTV, because of all the image-making and all of the glam and costumery, the corporateness of it all, we felt out of place. Even though we were bigger than ever!"
Ready for something different, the Wilson sisters headed back to the Pacific Northwest for a fresh start. Little did they know, it turned out to be perfect timing. Bands like Nirvana, Pearl Jam, Soundgarden, and Alice in Chains were moments away from changing the world.
"The minute you heard 'Smells Like Teen Spirit,' it was all over for the '80s. It was cooked," says Wilson. "So, we went back to Seattle. We just threw it all away after the '80s. No manager, no record company. We started another kind of new experimental band called the Lovemongers. We just went out and played clubs on our own.
"The songs are a variety of things I can do. The fingerstyle acoustic and the more personal, confessional poetic thing is one of them. And I love to do the rock thing, too."
"But the guys from the Seattle explosion, all the guys from Pearl Jam, Soundgarden, and Nirvana, were really appreciative and supportive of the history, of how we got there, and the fact that we'd kind of thrown up our hands and were kind of poo-pooing the rest of the '80s corporateness. They were right there for us on that."
Since that time, Wilson has stayed plenty busy. Heart has continued to record and tour, she released albums with the Lovemongers and her side project Roadcase Royale. She also built a celebrated film career, composing music for Vanilla Sky, Almost Famous, and Jerry Maguire. Through it all, her musical community remains a vital part of her career, helping shape You and Me, her first solo studio release.
Wilson has always preferred raw emotion and the power of great songs translated through her guitars. Fans of her previous work will be glad to hear that hasn't changed. You and Me includes raw rockers like "Party at the Angel Ballroom," the dark and heart-wrenching "The Dragon," and even a fingerstyle acoustic tribute to Eddie Van Halen ("4 Edward"). Best of all, each song is filled with gorgeous guitar tones and perfectly executed performances.
But just because the album sounds familiar doesn't mean Wilson is afraid to take chances. For instance, while most rock albums charge out of the gate, You and Me opens with its deeply personal title track, a meditative conversation with her late mother, taking you by surprise and instantly drawing you in. "It's pretty brave to start an album with something that intimate," admits Wilson. "But I thought it would be deceptively simple for the first track. It's really interior. It's a conversation with someone in zero gravity."
Nancy Wilson rocks a pink Baby Dean Z onstage with Heart in Dallas, Texas, circa 1982.
Photo by Stuart Taylor/Frank White Photo Agency
Wilson's fans have been waiting on a solo album like this for decades. So why now? With COVID lockdowns, travel restrictions, and the movie industry on hold, Wilson was going stir crazy. She had to create. "It was about trying to get back to writing in general," Wilson says. "So the songs are a variety of things I can do. The fingerstyle acoustic and the more personal, confessional poetic thing is one of them. And I love to do the rock thing, too."
With its wide breadth of styles, You and Me is very much a musical scrapbook, filled with new compositions, timely resurrections of older material, and covers of some of her favorite songs. "In a way, the variety on this album is a lot like a Heart album," Wilson offers. "You traverse all these stylistic statements and stories you want to tell. But it still fits together somehow."
Lockdowns and travel restrictions forced Wilson to take a different approach when creating the album. That meant swapping files online as musicians tracked their parts on their own. Wanting things to go as smoothly as possible, Wilson reached out to her extended musical family and enlisted the help of some very familiar faces.
"With acoustic, my sister and I used to do a lot of duet performances. I had to learn how to be the band by myself. I would pound on it, and put bass lines in, and do heavy rhythm stuff. I would even put in the occasional almost lead part through the rhythm part."
"Because of the shutdown, the players were mainly from the last Heart tour, and Ben Smith, who was in Heart forever before that," Wilson says. "They're all in Seattle. So, I started songs on my own and sent them to my guy in Denver [engineer Matt Sabin], who put it in Dropbox for all the Seattle guys. Then they made the rounds with the track."
With such an impersonal approach to recording, it can be tough to capture the energy and spontaneity that rock requires. But thanks to her familiar cast, You and Me is an exception. Old-school rockers like "The Inbetween" and "The Rising" sound like a well-oiled band playing a few feet from each other.
"It's shocking when I hear it now. It's such a tight-knit group of players that we're dying to play together. But we just had to do our best without being in the same room," Wilson says. "But we're so familiar with each other's way of playing that it's second nature."
Wilson and her bandmates didn't go it alone. They had help from some of the A-list friends Wilson made throughout her career. Sammy Hagar lends his voice to a cover of Simon & Garfunkel's "The Boxer," Roadcase Royale bandmate Liv Warfield sings on the Cranberries' "Dreams," and Taylor Hawkins (Foo Fighters) and Duff McKagan (Guns N' Roses) give "Party at the Angel Ballroom" its unmistakable energy.
Nancy Wilson's Gear
"I usually use my Epiphone more live than on this album, because I have a couple of those classic pieces," says Nancy Wilson, referring to her signature Epiphone Fanatic, shown here, and the '63 Tele and '60s SG Custom Junior she uses in the studio
Photo by Ken Settle
Guitars
- 1963 Fender Telecaster
- 1960s Gibson SG Junior
- Epiphone Nancy Wilson Signature Fanatic
- Martin HD-35 Nancy Wilson Dreadnought
- Libra Sunrise acoustic
Strings and Picks
- Dunlop Tortex medium/heavy
- Ernie Ball Slinky mediums
Amps
1960s Fender Deluxe
Orange Tiny Terror
Effects
- Vintage Electro-Harmonix Memory Man
- Way Huge Swollen Pickle
"I knew that I wanted to get Sammy to join in on something, because I've played a bunch with him in various situations. He came out for our Christmas show in Seattle, and I did a couple of songs with him. With Taylor, we did a few talk shows and various benefits. And same with Duff.
"Taylor actually asked me first. He was making his solo album recently, called Get the Money. He said, 'Would you come sing on my album?' And I said, 'Of course, I will! I'll drive over.' Then I was like, 'Well, I'm going to make an album now, so what do you have laying around? Do you have a jam or anything?' And he said, 'As a matter of fact, I've got this thing right here that Duff and I jammed on.' I cut it up and put it into a song and sang it. Then I sent it back to Taylor, and he put a whole bunch of, as he would say, 'rad vocals, man.'"
You can hear the joy that Wilson's guests brought to You and Me. But sadly, many of Wilson's Seattle-based friends and collaborators also share in tragedy. Through the years, they have said goodbye to such rock luminaries and friends as Andrew Wood, Mike Starr, Kurt Cobain, Layne Staley, and Chris Cornell. Wilson translates that hurt beautifully on the album's most striking song, "The Dragon." Written before Staley's death, it's a brooding plea and tribute to the former Alice in Chains frontman.
"Everyone could see clear as day that he was struggling so hard with his own addiction and that it was going to take him," Wilson recalls. "That's the emotional content behind that song. It was like, 'No, don't go down there!' But we knew it was probably already too late. Then after Layne was gone, Jerry [Cantrell] kind of disappeared on everybody for a little too long. So, we invited Mike Inez to be in Heart until Jerry revived. It's really the truest of the stories about the support group, the brotherhood, and sisterhood. It's about that group of people, the musicians in the Seattle scene. There are good people there."
You and Me is Nancy Wilson's first solo studio album. It was made during the pandemic with band members in different locations, and they used Dropbox to transfer files to each other. Sammy Hagar, Duff McKagan, and Taylor Hawkins are among Wilson's collaborators on the release.
Along with its deeply personal themes, "The Dragon" is made all the more captivating by its wide breadth of guitar tones. That's true of the entire record. And though Wilson is famed for her acoustic playing, her trusty electric is responsible for a whole lot of them.
"I mostly played the '63 Tele for rhythm and some clean stuff," Wilson says. "Like on 'You and Me,' there's one other acoustic player [Bob Limbocker] that played the main part that I fell in love with. I knew that I could just add a clean electric at a certain point in the song where the clean electric doubles the acoustic."
Though she's the first to admit that she's not a gearhead, Wilson does swear by some favorite electric guitars and amps for capturing her tones. "My '63 Telecaster is the one on the album cover. I've had it forever. I also have the SG that I play, with the wang bar [1960s Gibson SG Junior]. I usually use my Epiphone [Nancy Wilson Signature Epiphone Fanatic] more live than on this album, because I have a couple of those classic pieces. There's no replacing those types of tones and really good microphones as well. Old tube mics, old tube amps, and the '63 Tele, all with the original dirt that you're going to hear in it.
"For amps, I mostly used my Fender Deluxe, an old one. I also used my Orange head and cabinet. It's the Tiny Terror. It's a great amp, and it really works!"
"The minute you heard 'Smells Like Teen Spirit,' it was all over for the '80s. It was cooked."
For her live rig, Wilson relies on a large pedalboard. But, with lessons learned from scoring films, she got the most from only a couple of her favorite pedals throughout the album. "Doing score music really informs my songwriting and my performance. It's an exercise in what to leave out. If you're writing to a picture, and there will be dialogue, you need to be sure you're not stepping on it. You have to know when to shut up, how to hover, and how to create low moments that don't have a lot of movement.
"Like, with some of my electric rhythm playing, there's a super-heavy foot pedal that I got into using. It's called the [Way Huge] Swollen Pickle. It's huge! I learned how to mute into a more open section, then use that pedal to build into a big rock moment. It's on the Cranberries song 'Dreams' and 'I'll Find You.' You don't pull all the stops out all the time. But I only used a couple of pedals. I think it was the Swollen Pickle and an old Memory Man. It creates a delay-echo kind of tonality with almost a phase thing going on. It's very old-school stuff."
Of course, you can't discuss Wilson's playing without talking about her contribution to rock acoustic guitar. In many ways, her powerful rhythms and iconic fingerstyle pieces (the intro to "Crazy on You," anyone?) elevated the instrument to equal status next to its electric sibling.
"With acoustic, my sister and I used to do a lot of duet performances," remembers Wilson. "I had to learn how to be the band by myself. I would pound on it, and put bass lines in, and do heavy rhythm stuff. I would even put in the occasional almost lead part through the rhythm part. But I always approached it almost like a percussion instrument."
This Duesenberg Starplayer has become a staple for Nancy Wilson during Heart's live shows. It belongs to her guitar tech, Jeff Ousley, and was given to him by Elvis Costello
Photo by Debi Del Grande
Wilson's trademark acoustic playing is undoubtedly the bedrock of You and Me. And it takes the lead on "4 Edward," her solo fingerstyle piece dedicated to one of the greatest guitar players of all time. The song is an emotional journey, and both a tip of the hat to some of EVH's best riffs and the friendship between him and Wilson.
"The times when we got to hang out, we were really fond of each other as friends. He was a novelty unto himself. And he recognized that, as a guitar player, I was pretty much a novelty myself. We were one-of-a-kind in our own way, and unexpected and different from everybody else. The fact he recognized that meant everything to me.
"But Eddie didn't have a real acoustic, at least on the road. So one day, I said, 'Here's one right now. You take this. If you don't have one, here's one.' The next morning, he gifted this beautiful acoustic piece through the phone into my ear. I remember it was very classical, mostly major chord structures, like most of his stuff always was. Joyful, and elated, and inspired. A little rock, of course, and then something heavenly in there. That was the thing I was trying to channel when I tried to make a tribute song for him."
Like her tried-and-true stable of electrics, Wilson tracked these acoustic performances with a surprisingly small number of guitars. "I have a signature Martin that I play on most of the acoustic stuff. Then there's another custom-built guitar that I got in 1976 from a guitar builder in Vancouver B.C. He saw me play and built me a guitar and gave it to me for free. It's called the Libra Sunrise. I said, 'I can't afford this. This is the best guitar I've ever played!' He said, 'Just call it a 100-year loan.' I sent him a good chunk of change to pay him for the guitar decades later."
Nancy Wilson "4 Edward" Storyteller Performance
Hear the story and a live performance of "4 Edward," Wilson's solo acoustic tribute to her dear friend and guitar legend, Eddie Van Halen.
With her first solo album under her belt, millions of albums sold, a highly respected career in film, and … oh yeah… having played "Stairway to Heaven" in front of Led Zeppelin at the Kennedy Center Honors ceremony, Wilson has achieved the stuff of dreams.
Yet, 2021 finds her as busy as ever. She's preparing a performance of her classic hits with the Seattle Symphony Orchestra. On top of that, there's a Heart biopic in the works directed by fellow Seattle rocker, boundary breaker, and TV star Carrie Brownstein (of Sleater-Kinney and Portlandia). With such a lauded career, you'd think Wilson has earned some time off. But that's just not her style. Whether with new music, film, or hitting the stage, Wilson must keep moving forward, keep rocking, and keep creating.
Why?
"The simple answer is sanity. It's what keeps me sane, I believe. Basically, I'm born to create stuff. The thing that's the most gratifying, the most uplifting, and the most fulfilling in my world is to be creative and make some magic where it was not there before."
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A dose of magic gain potion.
Works like a little vial of magic gain potion. Fattens without obscuring individual frequency bands.
None.
$129
Solodallas SVDS Boost
solodallas.com
The Schaeffer-Vega Diversity System—an early and very successful wireless system—excelled at the tasks it was designed for. But there was more magic than met the eye. Though designed to sound as transparent as possible, it nonetheless colored the signal in a way that people like Angus Young and Eddie Van Halen found essential.
SoloDallas explored the possibilities of this circuit before in pedals like theSchaeffer Replica, but the new SVDS Boost strips the formula to essentials. Minimalist controls—one knob, that’s it—make this boost no less delicious. I’m not surprised Angus Young was smitten with the original SVDS. An SG and Marshall 18-watt amp sound fantastic naked, but the SVDS Boost has the rare talent for fattening everything without seeming to favor or obscure any frequency band too much. And as zest to the PAF/Marshall style formula, it makes the kind of rowdy, organic, airy, large, and punch-packing Marshall sound you would dream of getting in a studio or hearing on the radio. There are many shades of this basic awesome color in spite of the single knob. Unity gain lives in the earliest third of its range. From there you certainly get more volume, but mostly you bathe in various hues of compressed, saturated, thick, and dynamite growl. You don’t need a Gibson and a Marshall to use it to devastating effect, either. A Telecaster and Vibrolux snap with attitude and whip-crack energy with the SVDS in the line. And with both guitar/amp combos, the SVDS’ wide dynamic responsiveness to volume and tone attenuation assures that things stay cracking when you need more control.
Positive Grid's Spark NEO offers guitarists a wireless guitar rig built into premium headphones, with AI-powered tone customization, exceptional sound quality, and versatile connectivity.
Positive Grid announces Spark NEO, a groundbreaking wireless guitar rig built directly into premium over-ear headphones. Designed to deliver a seamless, personal guitar experience, Spark NEO combines Positive Grid’s award-winning guitar amp technology with true wireless connectivity and AI-powered guitar tone customization.
Spark NEO offers a seamless solution for guitarists seeking exceptional sound quality, advanced tone-shaping tools, and the freedom to play anywhere. Built with custom-designed 40mm drivers and an ultra-lightweight bio-fiber diaphragm, Spark NEO ensures rich, balanced sound for every style of music. The included wireless transmitter instantly pairs any guitar with the headphones for plug-and-play convenience, while Spark NEO’s built-in 1/4" input can also support traditional guitar cables, for added versatility.
With four onboard, customizable guitar presets, Spark NEO enables private playing anywhere, free from space limitations or noise constraints. For even more variety, connecting to the free Spark app unlocks additional presets, amps & effects, and advanced tone controls. Spark NEO also doubles as premium Bluetooth® headphones, offering exceptional clarity for music, podcasts, and more.
Key Features:
- Optimized for Guitarists: Spark NEO integrates Positive Grid’s renowned tone engine, delivering precise sound tailored to electric, acoustic, and bass guitars.
- True Wireless Freedom: A proprietary 2.4GHz system provides reliable, ultra-low latency connectivity between Spark NEO and the user’s guitar, for a smooth and stable playing experience.
- AI-Powered Guitar Tone Customization: Create and refine tones effortlessly with AI-driven tools that adapt to every playing style.
- Exceptional Sound Quality: Precision-engineered drivers deliver clarity and balance for both guitar playing and music listening.
- Portable Design: Spark NEO’s compact, foldable build and rechargeable battery with up to six hours of play time make it easy to take anywhere.
Built for Guitarists
Spark NEO bridges the gap between traditional guitar setups and modern technology. Unlike using generic headphones with a guitar amp, Spark NEO’s integrated design ensures every element—from app to drivers—delivers unparalleled performance.
Noise Isolating Design
Spark NEO’s ultra-soft, durable ear cups ensure a comfortable fit. With advanced damping materials, tuned venting, and precise port adjustments, Spark NEO provides passive noise isolation, letting every musical detail shine without external interference. Jam with backing tracks or favorite songs without disturbing a soul.
Enhanced Creativity with Spark App
The Spark App expands Spark NEO’s capabilities with access to 33 amps and 43 effects, plus over 100,000 tones on Positive Grid's online ToneCloud. Auto Chords helps players learn and jam along with any song by displaying its chords in real time as the song plays, while customizable presets offer endless creative possibilities. Play with backing tracks or along with favorite songs. Whether practicing, playing, or experimenting, Spark NEO delivers unmatched flexibility for guitar players at every level.
Availability and Pricing
Spark NEO is priced at USD $199, including the headphones, wireless transmitter, and full access to the Spark App. It will be available soon on Positive Grid’s website, Amazon, and select retailers.
For more info, please visit positivegrid.com.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Like any discography that’s been growing over the course of more than half a century, it can be hard to decode Young’s work. And with such an adventurous spirit, it could be easy to make some missteps and miss out on his best guitar works. In this episode, Nick guides Jason through some of his hero’s finest moments.
More news from Neil always seems to be on the horizon, so here’s your chance to catch up.
This episode is sponsored by Gibson.
This Japan-made Guyatone brings back memories of hitchin’ rides around the U.S.
This oddball vintage Guyatone has a streak of Jack Kerouac’s adventurous, thumbing spirit.
The other day, I saw something I hadn’t noticed in quite some time. Driving home from work, I saw an interesting-looking fellow hitchhiking. When I was a kid, “hitchers” seemed much more common, but, then again, the world didn’t seem as dangerous as today. Heck, I can remember hitching to my uncle’s cabin in Bradford, Pennsylvania—home of Zippo lighters—and riding almost 200 miles while I sat in a spare tire in the open bed of a pickup truck! Yes, safety wasn’t a big concern for kids back in the day.
So, as I’m prone to do, I started digging around hitchhiking culture and stories. Surprisingly, there are organized groups that embrace the hitching life, but the practice remains on the fringe in the U.S. Back in the 1950s, writer Jack Kerouac wrote the novel On the Road, which celebrated hitchhiking and exposed readers to the thrill of maverick travel. Heck, even Mike Dugan (the guitarist in all my videos) hitched his way to California in the 1960s. But seeing that fellow on the side of the road also sparked another image in my brain: Yep, it always comes back to guitars.
Let me present to you a guitar that’s ready to go hitching: the Guyatone LG-180T, hailing from 1966. The “thumbs-up” headstock and the big “thumb” on the upper bout always made me think of thumbing a ride, and I bought and sold this guitar so long ago that I had forgotten about it, until I saw that hitchhiking dude. Guyatone was an interesting Japanese company because they were primarily an electronics company, and most of their guitars had their wooden parts produced by other factories. In the case of the LG-180T, the bodies were made by Yamaha in Hamamatsu, Japan. At that time, Yamaha was arguably making the finest Japanese guitars, and the wood on this Guyatone model is outstanding. We don’t often see Guyatone-branded guitars here in the U.S., but a lot of players recognize the early ’60s label Kent—a brand name used by an American importer for Guyatone guitars.
With a bit of imagination, the LG-180T’s “thumbs up” headstock seems to be looking for a roadside ride.
Kent guitars were extremely popular from the early ’60s until around 1966. The U.S. importer B&J fed the American need for electric guitars with several nice Kent models, but when the Guyatone contract ended, so did most of the Kent guitars. After that, Guyatone primarily sold guitars in Japan, so this example is a rare model in the U.S.
“Unless you are a master at guitar setups, this would be a difficult player.”
This headstock is either the ugliest or the coolest of the Guyatone designs. I can’t decide which. I will say, no other Japanese guitar company ever put out anything like this. You have to give the Guyatone designers a thumbs up for trying to stand out in the crowd! Guyatone decided to forgo an adjustable truss rod in this model, opting instead for a light alloy non-adjustable core to reinforce the neck. Speaking of the neck, this instrument features the most odd-feeling neck. It’s very thin but has a deep shoulder (if that makes any sense). Totally strange!
Another strange feature is the bridge, which offers very little adjustment because of the three large saddles, which sort of rock back and forth with the tremolo. It’s a shame because these pickups sound great! They’re very crisp and have plenty of zing, but unless you are a master at guitar set-ups, this would be a difficult player.
This could be why the LG-180T only appeared in the 1966 and 1967 catalogs. After that, it disappeared along with all the other Yamaha-made Guyatone electrics. By 1969, Guyatone had gone bankrupt for the first time, and thus ended guitar production for a few decades. At least we were blessed with some wacky guitar designs we can marvel at while remembering the days when you could play in the back end of an explosive 1973 AMC Gremlin while your mom raced around town. Two thumbs up for surviving our childhoods! PG