Heart -

Heart are an American hard-rock band from Seattle that debuted with the popular album Dreamboat Annie on Canadian small-press Mushroom in 1975, followed by five studio albums on the CBS imprints Portrait and Epic between 1977 and 1983. In 1985, the band issued a self-titled album on Capitol that spawned a new round of success during the second half of the decade.

Members: Ann Wilson (vocals, flute, guitar, keyboards, violin, tambourine, bass, drums, autoharp, percussion), Nancy Wilson (vocals, guitar, piano, keyboards, mandolin, Mellotron, bass, blues harp, Dobro, synthesizer, dulcimer, mandocello), Steve Fossen (bass, percussion, 1974-81), Roger Fisher (guitar, mandolin, 1974-80), Howard Leese (guitar, keyboards, vocals, mandolin, Mellotron, synthesizer, violin, Moog, bells, organ, cymbal, autoharp, 1977-94), Michael Derosier (drums, percussion, 1977-81), Mark Andes (bass, guitar, vocals, 1982-93), Denny Carmassi (drums, percussion, 1982-93)

Background

Heart germinated from the Seattle-area bar band White Heart, founded in 1970 by bassist Steve Fossen and guitarist Roger Fisher. Their name — inspired by the book Tales from the White Hart by science fiction writer Arthur C. Clarke — was eventually shortened to Heart in honor of Fisher’s birthday, which happened to coincide with Valentine’s Day.

In 1972, singer–guitarist Ann Wilson joined Heart. Soon thereafter, she was smitten by Roger’s brother Mike, who’d fled to Canada to avoid the draft. The band eventually settled in Vancouver, where they were joined by Ann’s younger sister, Nancy, in 1974.

In 1975, Heart cut a demo with producer Mike Flicker, who would produce their first five albums. The band grew to a five-piece with guitarist–keyboardist Howard Leese. That summer, they recorded their first album at Can-Base studio, owned by the team behind upstart Mushroom Records.

Dreamboat Annie

Heart’s debut album, Dreamboat Annie, first appeared in Canada in September 1975 on Mushroom Records. The album sold 35,000 within months and prompted Mushroom to issue it stateside in February 1976.

Dreamboat Annie contains six songs co-written by sisters Ann and Nancy Wilson, including “Soul of the Sea,” the thrice recurrent title track, and the FM evergreens “Magic Man” and “Crazy on You.” Side B includes the group-written “Sing Child” and the Ann solo number “How Deep It Goes.”

Ann plays flute on three songs, surrounded by Nancy on acoustic six- and twelve-string guitar. Roger Fisher plays electric guitar on seven tracks and lap steel on “(Love Me Like Music) I’ll Be Your Song.” He interlocks on the two hits with Howard Leese, whose contributions include synthesizer (“Magic Man”), bells (“Dreamboat Annie”), and orchestral arrangements on four tracks. Bassist Steve Fosen appears on all but the “Fantasy Child” prelude and Ann’s number.

Ptarmigan drummer Kat Hendrikse plays on five tracks. Skylark‘s Duris Maxwell drums on “How Deep It Goes.” Sessionist Dave Wilson drums on “Magic Man.” Two tracks (“White Lightning & Wine,” “Sing Child”) feature Mike Derosier, who subsequently filled Heart’s drum seat.

A1. “Magic Man” (5:35)
A2. “Dreamboat Annie (Fantasy Child)” (1:55)
A3. “Crazy on You” (3:54)
A4. “Soul of the Sea” (6:35)
A5. “Dreamboat Annie” (2:02)

B1. “White Lightning & Wine” (3:53)
B2. “(Love Me Like Music) I’ll Be Your Song” (3:20)
B3. “Sing Child” (4:55)
B4. “How Deep It Goes” (3:49)
B5. “Dreamboat Annie (Reprise)” (3:48)

Sessions occurred in mid-1975 an Can-Base in Vancouver, where Mushroom’s Mike Flicker produced and engineered Dreamboat Annie between the 1974–76 Chilliwack albums Riding High and Dreams, Dreams, Dreams.

Dreamboat Annie appeared in a gatefold sleeve with a back-to-back head shot of Ann and Nancy under a heart-dipped H group logo by Jim Rimmer, founder of the Pie Tree Press graphics firm. The inner-gate collage presents twenty-six live and studio pics, including two fish-eye views.

Magazine

Mushroom released the unfinished second Heart album, Magazine, in April 1977 without the band’s approval. After a legal dispute, a second version of the album appeared in April 1978 with a shuffled tracklist.

The album contains a mix of new studio material, an earlier B-side, and two live numbers from their Seattle club days. It captures Heart midway between the acoustic folk-rock textures of Dreamboat Annie and the heavier, blues-based attack they developed on Little Queen.

Singer Ann Wilson and guitarist Nancy Wilson wrote five of the eight songs, with contributions from the rest of the classic lineup: guitarist Roger Fisher, bassist Steve Fossen, drummer Michael DeRosier, and guitarist–keyboardist Howard Leese. They also included a cover of Badfinger’s “Without You” and live versions of songs by Willie Dixon (“You Shook Me Babe”) and Bias Boshell (“I’ve Got the Music in Me”).

“Heartless,” the lead track, opens with a slow synthesizer passage before breaking into a taut, guitar-driven rocker about emotional manipulation and endurance. “Devil Delight” follows a Led Zeppelin-inspired contour with shifting riffs and sharp rhythm changes, while “Magazine” stretches across six minutes with layered harmonies and dynamic pacing. “Just the Wine” and “Here Song” display the Wilson sisters’ softer acoustic side. The live medley “Mother Earth Blues” evokes their barroom origins, and “I’ve Got the Music in Me” closes the album with a brisk, show-closing energy.

A1. “Heartless” (4:59)
A2. “Devil Delight” (4:58)
A3. “Just the Wine” (4:15)
A4. “Without You” (4:43) — originated as a 1970 Badfinger ballad written by Pete Ham and Tom Evans, later popularized by Harry Nilsson and covered by numerous artists.

B1. “Magazine” (6:19)
B2. “Here Song” (1:34) — first appeared as the 1975 B-side to “How Deep It Goes.”
B3. “Mother Earth Blues” (5:42) — live version of the Peter Chatman song, a 1950 blues standard first recorded by Memphis Slim. Presented on the 1977 version as a two-part track: “Blues Medley” (7:11) – a. “Mother Earth” / — b. “You Shook Me Babe.”
B4. “I’ve Got the Music in Me” (6:01) — live rendition of the 1974 Kiki Dee Band hit written by Bias Boshell.

Sessions occurred in 1976 at Mushroom Studios in Vancouver with producer Mike Flicker. After a legal settlement with Mushroom, Heart re-recorded and remixed the album in March 1978 at Sea-West Studios in Seattle with Flicker, assisted by engineers Rick Keefer and Larry Green.

Magazine features cover art by Loren Salazar. The 1978 authorized release came in a die-cut sleeve, with a picture-disc edition pressed in a limited run of 100,000 copies.

Mushroom promoted the album with “Heartless” (b/w “Just the Wine”), issued in March 1978. The single reached No. 24 on the Billboard Hot 100 and No. 18 in Canada. “Without You” followed in May, and “Magazine” appeared that July.

Magazine reached No. 17 on the Billboard 200 and No. 13 in Canada, earning platinum certification in both countries.

Little Queen

Heart released their third studio album, Little Queen, on May 14, 1977, on Portrait.

Little Queen combines electric hard rock with acoustic folk passages, extending the elemental sound Heart defined on Dreamboat Annie. It marked their first release for CBS’s Portrait label following a contractual dispute with Mushroom Records, which issued the incomplete Magazine in retaliation.

Ann Wilson wrote or co-wrote all ten songs with guitarist Roger Fisher, guitarist–keyboardist Howard Leese, drummer Michael DeRosier, bassist Steve Fossen, and guitarist–vocalist Nancy Wilson, who also contributed the album’s sole solo composition.

The set opens with “Barracuda,” a riff-driven rocker written in response to Mushroom’s suggestive advertising campaign about the Wilson sisters. It contrasts with the pastoral sequence of “Sylvan Song” and “Dream of the Archer,” where acoustic mandolin and autoharp frame medieval imagery. “Love Alive” blends flute and electric guitar in a flowing 6/8 rhythm, while “Kick It Out” and “Little Queen” pursue brisker tempos with stacked harmonies. “Treat Me Well” centers on Nancy’s piano and voice, and “Go On Cry” closes with layered guitars and timpani.

A1. “Barracuda” (4:20)
A2. “Love Alive” (4:21)
A3. “Sylvan Song” (2:12)
A4. “Dream of the Archer” (4:30)
A5. “Kick It Out” (2:44)

B1. “Little Queen” (5:10)
B2. “Treat Me Well” (3:24)
B3. “Say Hello” (3:36)
B4. “Cry to Me” (2:51)
B5. “Go On Cry” (5:52)

Sessions occurred between February and April 1977 at Kaye-Smith Studios in Seattle with producer Mike Flicker and engineers Buzz Richmond and Winslow Kutz.

Little Queen features cover photography by Bob Seidemann under art direction by Mike Doud and John Kehe.

Portrait promoted the album with “Barracuda” (b/w “Cry to Me”), which entered Billboard on May 28, 1977, and peaked at No. 11. “Little Queen” followed in August (b/w “Treat Me Well”) and reached No. 62, while “Kick It Out” appeared in October (b/w “Go On Cry”) and charted at No. 79.

Dog & Butterfly

Heart released their fourth album, Dog & Butterfly, on October 7, 1978, on Portrait.

Dog & Butterfly divides its material into two halves: a hard-driving “Dog” side and a reflective “Butterfly” side. The album extends the dynamic contrast of Little Queen, mixing sharp electric anthems with acoustic ballads rooted in folk and art-rock traditions. It marked Heart’s final studio work with founding guitarist Roger Fisher.

Ann Wilson wrote the bulk of the material in collaboration with Nancy Wilson and longtime lyric partner Sue Ennis. Guitarist Roger Fisher contributed to two tracks (“Cook With Fire,” “Mistral Wind”), and keyboardist–guitarist Howard Leese provided orchestral arrangements.

The “Dog” side opens with “Cook With Fire,” a fierce performance dressed with live crowd overdubs. “High Time” follows in brisk, upbeat fashion, while “Hijinx” explores funk rhythm under playful vocal exchanges. “Straight On,” driven by a syncopated bass line and steady kick rhythm, closes the first side with lyrical metaphors drawn from games of chance. The “Butterfly” side centers on the title ballad, a song of perseverance inspired by a dog chasing a butterfly. “Lighter Touch” and “Nada One” sustain a subdued, pastoral tone, while the closing “Mistral Wind” builds from acoustic calm to stormy intensity in one of the band’s most dramatic extended pieces.

A1. “Cook With Fire” (4:57)
A2. “High Time” (3:21)
A3. “Hijinx” (3:30)
A4. “Straight On” (5:09)

B1. “Dog & Butterfly” (5:21)
B2. “Lighter Touch” (5:03)
B3. “Nada One” (5:23)
B4. “Mistral Wind” (6:42)

Sessions occurred at Sea-West Studios in Seattle and Capitol Studios in Hollywood with producer Mike Flicker, assisted by engineers Rick Keefer and T.J. Landon.

The cover concept, designed by Mike Doud with illustration by Fu-Tung Cheng and photography by Gary Heery, depicts a surreal wind-blown figure balancing atop a dog and butterfly motif.

Portrait promoted Dog & Butterfly with “Straight On” (b/w “Lighter Touch”) in September 1978, which reached No. 15 on the Billboard Hot 100, followed by “Dog & Butterfly” (b/w “Mistral Wind”) in January 1979, which peaked at No. 34.

“Mistral Wind” has endured as one of Heart’s most performed and celebrated album closers, often revived in concert as a showcase for Ann Wilson’s dramatic vocal range.

Bébé le Strange

Heart released their fifth album, Bébé le Strange, on February 14, 1980, on Epic.

Bébé le Strange marks Heart’s first album without founding guitarist Roger Fisher, who departed after Dog & Butterfly. The record continues their hard-rock foundation with sharper edges and denser textures, substituting the acoustic contrasts of earlier work for a more consistent electric attack.

Ann Wilson wrote the majority of the material with guitarist Nancy Wilson and lyricist Sue Ennis. Former member Roger Fisher co-wrote the title track, and Nancy contributed two solo pieces (“Silver Wheels,” “Raised on You”).

The album opens with “Bébé le Strange,” a driving rocker with tempo surges and sharp rhythmic turns. “Down on Me” channels heavy-blues lament, while “Break” races on manic vocal phrasing. “Rockin Heaven Down,” the set’s six-minute centerpiece, builds from a slow riff to a climactic finish. Nancy’s acoustic “Silver Wheels” offers the lone instrumental, and “Even It Up,” punctuated by the Tower of Power horn section, frames Ann’s demand for reciprocity in love. “Raised on You” features Nancy on lead vocals, contrasting with Ann’s power on the closing “Sweet Darlin.”

A1. “Bébé le Strange” (3:38)
A2. “Down on Me” (4:46)
A3. “Silver Wheels” (1:22)
A4. “Break” (2:32)
A5. “Rockin Heaven Down” (5:52)

B1. “Even It Up” (5:10)
B2. “Strange Night” (4:16)
B3. “Raised on You” (3:21)
B4. “Pilot” (3:15)
B5. “Sweet Darlin” (3:18)

Sessions occurred in 1979 at Kaye-Smith Studios in Seattle with producer Mike Flicker and engineers Rob Perkins and Armin Steiner. The horn tracks were engineered separately with Stewart Whitmore assisting.

The album cover, designed by Tony Lane with photography by Jeff Burger, features Ann and Nancy Wilson with wind-blown hair and stage attire against a muted backdrop, signaling their shift into the 1980s.

Epic promoted Bébé le Strange with “Even It Up” (b/w “Pilot”) in January 1980, which reached No. 33 on the Billboard Hot 100. The title track followed in June (b/w “Rockin Heaven Down”). A third single, “Raised on You,” appeared in April.

“Even It Up” later appeared in the band’s concert setlists alongside “Rockin Heaven Down,” which has since been cited as one of Heart’s defining epic performances from their first era.

Greatest Hits/Live

On November 29, 1980, Heart released the double-album Greatest Hits/Live. It contains one record of highlights from their first five studio albums and one record with live numbers and three new studio tracks.

The first disc collects highlights from Heart’s first five studio albums, while the second disc presents live performances alongside three new studio tracks, including the cover “Tell It Like It Is.” The album captures the band’s hard rock and folk rock range, featuring Ann Wilson on lead vocals, Nancy Wilson on guitars and backing vocals, Howard Leese on guitars and keyboards, Michael DeRosier on drums, and Steve Fossen on bass. Additional horn players—Lenny Pickett, Greg Adams, Emilio Castillo, Steven Kupka, and Mic Gillette—appear on select studio tracks.

Ann Wilson and Nancy Wilson co-wrote multiple tracks, including several live arrangements, while the compilation features covers of Aaron Neville (“Tell It Like It Is”), Alex North and Hy Zaret (“Unchained Melody”), and Lennon/McCartney (“I’m Down / Long Tall Sally”).

Musically, the studio disc balances acoustic-driven ballads like “Silver Wheels” with full-band rockers such as “Barracuda” and “Even It Up,” while the live disc emphasizes energetic stage arrangements and extended instrumental sections. Tracks like “Bebe le Strange” and “Sweet Darlin’” showcase the band’s live precision, with dynamic interplay between dual vocals and layered guitar lines.

A1. “Barracuda” (4:21) — from Little Queen; driving riffs with lyrical imagery about betrayal and duplicity.
A2. “Silver Wheels” (1:19) — from Bébé le Strange; acoustic interlude with reflective tone.
A3. “Crazy on You” (4:54) — from Dreamboat Annie; acoustic intro leads into angular electric riffs, exploring emotional longing.
A4. “Straight On” (4:52) — from Dog & Butterfly; rhythm-focused rock track about pursuit of desire.
A5. “Dreamboat Annie” (2:08) — from Dreamboat Annie; soft, folk-inspired closing for the first disc.

B1. “Even It Up” (5:09) — from Bébé le Strange; features horns, driving tempo, and lyrical confrontation.
B2. “Magic Man” (5:27) — from Dreamboat Annie; dynamic vocal exchanges with fluid guitar lines.
B3. “Heartless” (5:00) — from Magazine; mid-tempo rocker with tense, contoured vocals.
B4. “Dog & Butterfly” (5:20) — from Dog & Butterfly; blend of acoustic and electric textures, lyrics about endurance.

C1. “Bebe le Strange” (live) (4:21) — Forum, Los Angeles; energetic live guitar and vocal interplay.
C2. “Tell It Like It Is” (4:29) — studio cover of Aaron Neville; blues-rock arrangement emphasizing Ann Wilson’s expressive vocals.
C3. “Mistral Wind” (live) (7:13) — Coliseum, Phoenix; extended live dynamics with instrumental build-up.
C4. “Hit Single” (2:34) — studio track; originally written by Wilsons, Leese.
C5. “Strange Euphoria” (2:44) — studio track; lyrical exploration of emotional turbulence.

D1. “Sweet Darlin’” (live) (4:04) — Aladdin Theater, Las Vegas; tight ensemble performance.
D2. “I’m Down / Long Tall Sally” (live) (4:07) — Sports Arena, San Diego; cover medley with high-energy guitar and vocal lines.
D3. “Unchained Melody” (live) (4:30) — McNichols Arena, Denver; heartfelt interpretation of North/Zaret classic.
D4. “Rock and Roll” (live) (5:12) — Coliseum, Seattle; hard rock stage finale with Page/Plant composition.

Sessions occurred at Kaye-Smith Studios in Seattle with production from Heart, Mike Flicker, Connie, and Howie, and engineering by Flicker, Rob Perkins, Brian Foraker, and Mike Beiriger. John Golden handled mastering.

Greatest Hits/Live features front and back cover photography by Neal Preston, capturing the band in performance and portrait contexts.

Epic promoted the album with the single “Tell It Like It Is” (b/w “Strange Euphoria”), which reached No. 8 on the US Billboard Hot 100 and No. 4 in Canada, followed by the live single “Unchained Melody,” which charted in 1981.

The compilation peaked at No. 13 on the US Billboard 200 and earned double-platinum certification from the RIAA.

Private Audition

Heart released their sixth studio album, Private Audition, on June 5, 1982, on Epic.

Private Audition reflects Heart’s transitional phase between their 1970s folk–hard rock hybrid and their forthcoming synth-influenced direction. The album balances theatrical piano pieces and string-laden arrangements with moments of muscular rock, marking their final studio appearance with bassist Steve Fossen and drummer Michael Derosier.

Ann Wilson, Nancy Wilson, and lyricist Sue Ennis wrote ten of the eleven songs. Drummer Michael Derosier co-wrote one track (“The Situation”) with Nancy Wilson.

The album opens with “City’s Burning,” a heavy, riff-centered number inspired by the 1980 murder of John Lennon. “Bright Light Girl” and “Fast Times” pursue brisk tempos with shifting rhythms and layered harmonies, while “Perfect Stranger” and “Angels” slow the pace with introspective piano and vocal interplay. “This Man Is Mine,” conceived as an homage to The Supremes, leans into soul-pop inflection with finger-snaps and call-and-response harmonies. “Private Audition” uses vaudevillian piano to satirize show business, and “The Situation” pushes the set’s edge with psychedelic tension. The closer, “America,” takes a minimal, chant-like form with sparse instrumentation.

A1. “City’s Burning” (4:26) — inspired by John Lennon’s murder, written by Ann Wilson, Nancy Wilson, and Sue Ennis; depicts a couple reacting to the news amid urban unrest
A2. “Bright Light Girl” (3:19)
A3. “Perfect Stranger” (3:51)
A4. “Private Audition” (3:19)
A5. “Angels” (3:00)
A6. “This Man Is Mine” (3:00) — homage to The Supremes, marked by snapping rhythm and lush vocal layers

B1. “The Situation” (4:33) — co-written by Nancy Wilson and drummer Michael Derosier
B2. “Hey Darlin Darlin” (3:43)
B3. “One Word” (4:32)
B4. “Fast Times” (3:51)
B5. “America” (2:45)

Sessions occurred between October 1981 and March 1982 at Studio 56 in Los Angeles, Wally Heider Studios in San Francisco, and Kaye-Smith Studios in Seattle with production credited to “Connie” and “Howie” (Ann Wilson, Nancy Wilson, Sue Ennis, and Howard Leese). Engineering and mixing were handled by David Thoener at the Record Plant, with mastering by Greg Calbi at Sterling Sound, New York.

Epic promoted the album with “This Man Is Mine” (b/w “America”) in May 1982, which reached No. 33 on the Billboard Hot 100 and No. 16 on the Mainstream Rock chart. “Bright Light Girl” followed in September as the second single. A video for “This Man Is Mine” emphasized the song’s Motown homage through retro choreography and lighting.

“City’s Burning” became a live staple during Heart’s 1982 tour and was later re-recorded for their 2016 album Beautiful Broken.

Passionworks

Heart released their seventh album, Passionworks, on August 20, 1983, on Epic.

Passionworks captures Heart’s shift from organic hard rock toward the synthesized, arena-oriented sound that dominated early-1980s AOR. The album introduced bassist Mark Andes and drummer Denny Carmassi, the former Montrose rhythm section. It marked the band’s first full collaboration with producer Keith Olsen, who steered their arrangements toward layered guitars and digital textures.

Ann Wilson, Nancy Wilson, and lyricist Sue Ennis wrote nine of the eleven songs. Keyboardist Howard Leese and the new rhythm section co-wrote three of those. The set includes one outside composition, “Allies,” written by Journey keyboardist Jonathan Cain.

“How Can I Refuse” opens the album with surging guitars and an assertive vocal line about romantic pursuit. “Blue Guitar” and “(Beat By) Jealousy” employ brisk tempos and pulsing synthesizers, while “Sleep Alone” and “Heavy Heart” slow the pace with reflective lyrics and prominent harmonies. “Johnny Moon” and “Together Now” feature elliptical chord turns and ethereal keyboard tones. “Allies,” the set’s lone power ballad, builds from a subdued piano line into a climactic chorus. “Love Mistake” offers subdued guitar interplay and “Language of Love” layers brisk rhythm with synth accents. The closing “Ambush” blends electric drums with aggressive guitar lines.

A1. “How Can I Refuse” (3:52) — Ann and Nancy Wilson, Sue Ennis, Howard Leese, Mark Andes, and Denny Carmassi; lyrics depict infatuation and romantic surrender
A2. “Blue Guitar” (3:54)
A3. “Johnny Moon” (4:00)
A4. “Sleep Alone” (4:12)
A5. “Together Now” (3:50)

B1. “Allies” (4:44) — written by Jonathan Cain of Journey; a piano-led ballad about resilience and reconciliation
B2. “(Beat By) Jealousy” (3:18)
B3. “Heavy Heart” (3:50)
B4. “Love Mistake” (3:28)
B5. “Language of Love” (3:38)
B6. “Ambush” (3:14)

Sessions occurred between March and June 1983 at Goodnight L.A. Studios with producer Keith Olsen and engineer Brian Foraker. Additional keyboard work was handled by David Paich and Steve Porcaro of Toto, who added synthesizer layers and programming to select tracks. Mastering took place at Artisan Sound Recorders by Greg Fulginiti.

Epic issued Passionworks with “How Can I Refuse” (b/w “Johnny Moon”) in August 1983. The single reached No. 44 on the Billboard Hot 100 and topped the Mainstream Rock chart. “Allies” followed in October (b/w “Together Now”) and reached No. 83 on the Hot 100.

Ann and Nancy Wilson later revisited “Johnny Moon” and “Language of Love” for Heart’s 2016 album Beautiful Broken.

Heart

Heart released their self-titled eighth studio album on June 21, 1985, on Capitol.

The album presents a polished rock sound that blends mid-80s power pop and hard rock. It marks the band’s Capitol debut and includes contributions from all core members: Ann Wilson (vocals), Nancy Wilson (lead and acoustic guitar, mandolin, background vocals, lead vocals on one track), Howard Leese (lead guitar, keyboards, mandolin, background vocals), Mark Andes (bass), and Denny Carmassi (drums). Additional musicians include synthesist Peter Wolf, keyboardist Holly Knight, and guest backing vocalists Mickey Thomas and Grace Slick.

Ann Wilson and Nancy Wilson co-wrote five tracks with regular collaborator Sue Ennis under the pseudonym “Connie.” Outside writers contributed the remaining songs: “If Looks Could Kill” (Jack Conrad, Bob Garrett), “What About Love” (Sheron Alton, Brian Allen, Jim Vallance), “Never” and “All Eyes” (Holly Knight, Gene Bloch, Connie), “These Dreams” (Bernie Taupin, Martin Page), and “Nothin’ at All” (Mark Mueller).

The album balances one power ballad, two conventional ballads, and seven rockers. Rockers range from minor-key, hard-hitting tracks like “If Looks Could Kill,” “The Wolf,” and “Shell Shock” to major-key, riff-driven pop rockers including “Never,” “Nothin’ at All,” “All Eyes,” and “What He Don’t Know.” Ballads feature heavy synth textures and melodic emphasis: “What About Love” highlights Ann Wilson’s voice with Grace Slick on backing vocals, while “These Dreams” features Nancy Wilson’s first lead vocal on a Heart No. 1 hit. “Nobody Home” blends synth-based textures with potential single appeal.

A1. “If Looks Could Kill” (3:42) — hard rock track written by Jack Conrad and Bob Garrett, featuring aggressive riffs and minor-key tonality, lyrics depict confronting a cheating lover.
A2. “What About Love” (3:41) — cover of Canadian band Toronto’s 1982 song by Sheron Alton, Brian Allen, Jim Vallance; power ballad with heavy chords and guest vocals from Grace Slick.
A3. “Never” (4:07) — written by Holly Knight, Gene Bloch, and Connie; mid-tempo rocker urging someone discouraged by love to continue hoping.
A4. “These Dreams” (4:15) — Bernie Taupin and Martin Page composition; synth-laden ballad with Nancy Wilson on lead vocals, explores escapist fantasies during difficult times.
A5. “The Wolf” (4:03) — Wilsons, Leese, Andes, Carmassi, Ennis; minor-key hard rocker with driving rhythm and layered guitars.

B1. “All Eyes” (3:55) — Knight, Bloch, Connie; major-key pop rocker with guitar emphasis.
B2. “Nobody Home” (4:07) — Wilsons, Ennis; synth-focused ballad detailing introspection and personal isolation.
B3. “Nothin’ at All” (4:13) — Mark Mueller; major-key power pop with strident keyboards and rhythm guitar, describes effortless love.
B4. “What He Don’t Know” (3:41) — Wilsons, Ennis; mid-tempo pop rocker with prominent guitar textures.
B5. “Shell Shock” (3:42) — Wilsons, Leese, Andes, Carmassi, Ennis; minor-key rock track with fast tempo and heavy riffing.

Sessions occurred at The Record Plant, Los Angeles, and The Plant, Sausalito, California with Ron Nevison producing and engineering, assisted by Mike Clink and Brian Foraker. Mike Reese mastered the album at The Mastering Lab, Hollywood.

Rebecca Blake provided photography and Norman Moore handled art direction and design.

Capitol promoted the album with five singles in sequence: “What About Love” (b/w “Heart of Darkness”) reached No. 10 on the Billboard Hot 100; “Never” (b/w “Shell Shock”) reached No. 4; “These Dreams” (b/w “All Eyes”) became Heart’s first US No. 1 single; “Nothin’ at All” (b/w “The Wolf”) reached No. 10; “If Looks Could Kill” (b/w “What He Don’t Know”) peaked at No. 54. Music videos accompanied the first four singles, featuring heavy performance and visual dramatization typical of 1980s glam metal aesthetics.

The album reached No. 1 on the US Billboard 200, No. 3 in Canada, and charted in the top 40 across multiple other territories. It became Heart’s only US quintuple platinum-certified album.

Bad Animals

Heart released their ninth studio album, Bad Animals, on June 6, 1987, on Capitol.

Bad Animals continues Heart’s mainstream hard rock style established on their 1985 self-titled release, blending arena-ready guitar riffs with layered keyboards and polished vocal arrangements. The album integrates a handful of covers alongside original material, highlighting Ann and Nancy Wilson’s dual lead vocal approach and the band’s rhythm section of Mark Andes (bass) and Denny Carmassi (drums). Guitarist and keyboardist Howard Leese contributes both instrumental and backing vocal textures, while additional session players include keyboardist Mike Moran and background vocalist Tom Kelly.

Ann Wilson wrote or co-wrote five tracks, including the title track with Nancy Wilson, Denny Carmassi, Mark Andes, and Howard Leese. Nancy Wilson co-wrote “There’s the Girl” with Holly Knight. The album features covers of i-Ten (“Alone”) and Dalbello (“Wait for an Answer”), while other songs include contributions from Diane Warren, Steve Kipner, Peter Beckett, Duane Hitchings, and Sue Shifrin.

Musically, the album opens with Diane Warren’s “Who Will You Run To,” a rhythm-driven rocker, followed by the power ballad cover “Alone,” which begins with sparse piano and Ann Wilson’s restrained vocals before building to a synth- and guitar-led chorus. Nancy Wilson takes lead on the upbeat electronic-tinged “There’s the Girl,” while tracks like “Bad Animals” and “RSVP” showcase driving riffs, dynamic tempo shifts, and layered vocal harmonies. “Wait for an Answer” and “Strangers of the Heart” provide darker tonal textures with angular instrumental interplay.

A1. “Who Will You Run To” (4:06) — written by Diane Warren; opens with steady guitar rhythm and synthesizer swells, lyrics examine the uncertainty of seeking refuge in another relationship.
A2. “Alone” (3:38) — composed by Billy Steinberg and Tom Kelly, originally recorded by i-Ten in 1983; Heart’s version builds from piano intro to layered hard-rock chorus, lyrics explore yearning and emotional isolation.
A3. “There’s the Girl” (3:50) — Nancy Wilson and Holly Knight; Nancy leads vocals, song emphasizes resilience and the pitfalls of romantic pursuit.
A4. “I Want You So Bad” (4:21) — Kelly and Steinberg; explores desire with punctuated riffs and pulsing keyboard textures.
A5. “Wait for an Answer” (4:31) — Lisa Dal Bello; darker tonal textures and angular instrumental interplay, lyrics reflect indecision and emotional tension.

B1. “Bad Animals” (4:54) — Ann Wilson, Nancy Wilson, Denny Carmassi, Mark Andes, Howard Leese; driving riffs with tempo shifts, lyrics reference the band’s self-styled persona.
B2. “You Ain’t So Tough” (4:05) — Steve Kipner and Peter Beckett; assertive rhythm guitar and vocal interplay underline lyrical confrontation.
B3. “Strangers of the Heart” (3:41) — Duane Hitchings, Sue Shifrin, Mark Andes; brooding texture, lyrics depict alienation in relationships.
B4. “Easy Target” (3:58) — Ann Wilson, Nancy Wilson, Sue Ennis; mid-tempo rocker with layered keyboards and tight vocal harmonies.
B5. “RSVP” (3:39) — Ann Wilson, Nancy Wilson, Sue Ennis; closes album with driving guitar riffs, lyrics discuss social invitation and expectation.

Sessions occurred at One on One (Hollywood), Power Station (New York), Rumbo (Los Angeles), and Can-Am (Tarzana) studios with producer Ron Nevison and engineers Toby Wright, Stan Katayama, Julian Stoll, Mike Christopher, and Jeffrey Poe.

Bad Animals features design and art direction by Norman Moore with photography by Phillip Dixon, presenting the band in high-contrast, dramatic imagery reflective of their touring persona.

Capitol promoted the album with the singles “Alone” (b/w live “Barracuda”), which reached No. 1 on the US Billboard Hot 100 and Canada, “Who Will You Run To” (b/w “Easy Target”), which reached No. 7, “There’s the Girl” (b/w “Bad Animals”), which reached No. 12, and “I Want You So Bad” (b/w unspecified), which reached No. 49. The music video for “Alone” depicts Ann and Nancy Wilson in a fragmented stage and theatrical imagery including a collapsing piano and a black horse.

Bad Animals peaked at No. 2 on the US Billboard 200 and achieved triple-platinum certification by the RIAA. It reached top-five chart positions in Canada, Finland, Norway, Sweden, and Switzerland, and top 10 in the UK.

Discography: