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Many incarnations had made it to tape, but none felt quite right.
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Chris had played it with the band many times, and we'd recorded a bunch of different versions, with different arrangements. But we never thought that the drum track had the metronomic feel that we really wanted.
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That was something it really needed, especially in the verses, to convey the song. The team then adjourned to the now-defunct Dave Wellhausen Studios in San Francisco's Sunset District, where they settled in and began cutting and pasting. We'd take six or seven different brush patterns and make loop patterns we could trigger off a MIDI note. Rowland Salley's bass guitar tracks were also compiled from previously recorded versions of the song that were sampled.
Johnson then came back in to overdub cymbals. We were trying to keep the live feel so it didn't sound programmed, but it had that precision and regularity, which really helps make the verses work.
Outboard preamps, direct to tape, were preferred for the overdubs, and Wellhausen's Soundcraft board was used only for monitoring. Guitars are key to the song. Isaak himself played two acoustics: one standard and one in a Nashville-style high-strung tuning he'd picked up from Night Ranger's Jeff Watson. The haunting lead was by Silvertone's guitarist at the time, James Calvin Wilsey; that, too, was painstakingly crafted.
Although Wilsey's melody had been written and played with the live tracks, the version that appears on the record was put together from numerous tracks overdubbed over a period of a couple of weeks, then comped and refined piece by piece.
One of the subtly cool sounds on the track is a MIDI'd string sound triggered by the lead guitar. It's the only keyboard part on the song; you hear it like a little drone. Then, David Lynch got in touch.
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After seeing Wild at Heart in , Atlanta radio programmer Lee Chestnut tracked down the original version of the song and started to give it prominent airtime, resulting in a swell of local support. Enter fashion photographer-cum-music video director Herb Ritts.
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Ritts keeps it minimal. The action is limited in scope, but undeniable in effect: in a glossy black-and-white sheen, Isaak and Christensen intimately tumble around in the sand, never looking each other in the eye.
Heartbreak never looked so good. Moving into the late s and early s, the song experienced an unlikely resurgence in the alternative rock scene that sprung up after grunge, with groups such as HIM, Stone Sour, and Three Days Grace all recording melodramatic takes on the track.
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