To hear examples of Nashville tuning used outside a country context, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer-guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think).
Reacquainting myself with Hips and Makers yesterday and today, I could kick myself for being so cloth-eared. Nashville tuning is as prevalent on that album as it is on Strange Angels.
I started listening to the album’s opening track, Your Ghost – a duet with Michael Stipe that is one of the best things Hersh has ever done – because I’m mixing a song with an arrangement of acoustic guitar, cello and two voices, and wanted to hear how they balanced Jane Scarpantoni’s cello against the vocals. I was surprised, then, to find that I’d never noticed previously that there is a second guitar on the track, mixed off to the right-hand side. It’s a Nashville-tuned strummed part that exactly duplicates the main rhythm track. On each chord change, Hersh plays two single notes (root, fifth, I assume) then strums the chord – the single notes of the Nashville-tuned part tend to get drowned out by the standard-tuned guitar, but I think she’s doubling the whole performance, not just the strummed chords.
It’s a nice detail, one for headphone listening, and creates a rich, enveloping acoustic guitar sound. I’m not sure if it was Hersh’s idea, or Lenny Kaye’s (Kaye was the producer), but according to Steve Rizzo, who was assistant engineer on Hips and Makers and is Hersh’s co-producer/engineer today, it’s something she still does:
“We’ve been using that on almost every solo record. A lot of people think she’s playing a 12-string, but what’s happening is it’s the 6-string and the Nashville [a Gibson J-45] played together. She can play the exact same thing from take to take so they sound like a 12-string, which is pretty cool. And sometimes it sounds very physical. Her hands can be so strong that it’s like, ‘How the hell is she playing that?’”
The key to it is the element Rizzo identifies: Hersh’s doubling of the parts is so tight that it does sound like a 12-string. When the two takes are panned down the middle, it’s impossible to tell that’s it’s two performances, not a single 12-string. But panning one of the parts off to the side, as on Your Ghost, creates a really cool effect that’s worth the effort it must take to create it.
Kristin Hersh – Nashville-tuned Gibson J-45 not pictured