Posts Tagged ‘Stevie Nicks’

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Stevie Nicks first came to prominence when she teamed with Lindsey Buckingham, with whom she recorded the 1973 Buckingham Nicks album, which in turn led directly to the duo joining the ranks of Fleetwood Mac. Nicks kicked off her solo career with the release of 1981’s “Bella Donna” an album remembered as much for its collaborations – including “Stop Draggin’ My Heart Around,” credited to Stevie Nicks and Tom Petty and the Heartbreakers, and “Leather and Lace,” a duet with Don Henley – but the swirling songstress quickly proved that she could produce memorable music all by herself. A double Rock and Roll Hall of Famer, Stevie Nicks’ career is littered with moments of artistic virtuosity and commercial reward. A supreme songwriter and a naturally gifted vocalist, Nicks found fame as an integral part of Fleetwood Mac’s resurgence. Having joined the band in 1975, as many of its members began fleeing the swinging scene for pastures new, Nicks was not initially considered for a role in the band and was only truly given an audition thanks to Lindsey Buckingham’s insistence.

 She is known for her distinctive voice, mystical stage persona and poetic, symbolic lyrics.  “When we’d do an album, they’d hear fifteen of my songs and invariably pick the two that were my least favourite,” she complained. “Some of my favourite songs wouldn’t get used.” The chance for the singer’s break out came in 1981, following some of the band’s most tumultuous years, when Nicks decided to release her first solo record: “Bella Donna“.

Of course, for an artist who had spent her entire career working alongside at least one other musician, the thought of going it completely alone was a distressing one. Nicks may well be incredibly talented but she has never been emboldened by her own confidence. A noted sufferer of stage fright, Nicks would rely on two men for help putting out her solo album, Jimmy Iovine and Tom Petty.

‘Street Angel’ (1994)

Nothing was going right for Stevie Nicks, personally (she was trying to kick an addiction of painkillers) or professionally (this album stalled at No. 45, and produced no hit singles). Street Angel was actually troubled from the start, as Nicks battled with original producer Glyn Johns. She ultimately decided to do a stint in rehab, which got her life back on track, then attempted – but ultimately failed – to get Street Angel back on track with second producer Thom Panunzio

After years of addiction, weight gain and exhaustion, Nicks fully detoxed in 1993 and ended her ties to Klonopin. The next year she released Street Angel, another solo album. As her health improved and she regained energy, Stevie returned to the studio to record new songs for multiple soundtracks.

“Blue Denim” Although it served as the lead-off track for Nicks’ first solo album since her departure from Fleetwood Mac, “Blue Denim” – a co-write with Mike Campbell of the Heartbreakers – failed to secure the first-single nod. After “Maybe Love Will Change Your Mind” peaked at a relatively unimpressive No. 42, “Blue Denim” got its shot at glory, but despite its insistent guitar riff and radio-friendly hook, it failed to chart in any capacity, making it somewhat of a rarity among Nicks’ songs released as singles.

‘Trouble in Shangri-La’ (Stevie Nicks, 2001)

Nicks had spent years trying to come to terms with the “Street Angel” debacle when two things broke the creative logjam: some important words of encouragement from old friend and musical collaborator Tom Petty, and a surprise Fleetwood Mac reunion. Nicks wrote some of the transitional “Trouble in Shangri-La” while out on tour with her old bandmates, then completed the album with choice new originals and some music from the underrated Buckingham/Nicks era.

Nicks had begun writing actively for ‘Trouble in Shangri-La’ in 1994 and 1995 as she came out of her Klonopin dependency, According to her, friend and former musical partner Tom Petty was responsible for convincing her to write music again when he rebuffed her request that he write a song with her. She resumed recording songs for the Trouble in Shangri-La album with Sheryl Crow, who produced and performed on several tracks.

It didn’t add up to her best work, but Nicks finally got back on track.

“Planets of the Universe” Originally composed during the period when Fleetwood Mac were working on “Rumours” (a demo of the song can be found on the expanded version of the album), Nicks wrote “Planets of the Universe” about her disintegrating relationship with Buckingham. Revisiting the song in 2001, Nicks excised one of the more bitter verses and, with the help of producer John Shanks and remixer Tracy Young, took the track to the top of Billboard’s Hot Dance Music / Club Play chart.

‘The Other Side of the Mirror’ (Stevie Nicks, 1989)

Following the tour for The Wild Heart, Nicks commenced work on her third solo album. Originally titled Mirror Mirror, Nicks recorded songs for the album during 1984. However, Nicks was unhappy with the album, and opted to record a new batch of songs in 1985. “Rock A Little” as it was retitled, was released November 18th, 1985, to commercial success, supported by three successful singles. Nicks toured for Rock a Little until October 1986,

Nicks exited the ’80s on another commercial high note. It’s interesting because “The Other Side of the Mirror” often rejects her typically twirly, mystical persona. Instead, Nicks – who was on the cusp of a debilitating battle with the prescribed tranquilizer Klonopin – has never sounded more haunted. (“Ghosts,” for instance, focuses on mistakes from the “past that you live in” and a “future you are frightened of.”) Not all of it works, beginning with the synthy production and definitely including a reggae version of Johnny Cash’s “I Still Miss Someone.” Still, The Other Side of the Mirror became Nicks fourth consecutive platinum-selling album of the decade on the strength of the Top 20 hit “Rooms on Fire.”

The first single from 1989’s “The Other Side Of The Mirror” Nicks revealed in the Timespace liner notes that ‘Rooms on Fire’ was inspired by her short-lived romantic dalliance with producer/musician Rupert Hine, who helmed the album. Although the song topped Billboard’s Album Rock Tracks chart and made it to No. 16 on both the Hot 100 and the Adult Contemporary Singles chart, Nicks dropped the song from her live sets in the ’90s and – based on the set lists available online, anyway – does not appear to have revisited it in a live setting since.

‘Rock a Little’ (Stevie Nicks, 1985)

She actually does rock a little. But the principal focus on this third solo album was solidifying Nicks’ spot as a pop star in her own right. It worked. The lead single “Talk to Me” went to No. 4, and “I Can’t Wait” reached No. 16. The album also produced “Has Anyone Ever Written Anything for You?,” which became a regular concert encore, and key deep cuts like the zippy “I Can’t Wait” and beautifully wistful “Some Become Strangers.” Nicks voice, however, seemed to deepen all at once and that made some of her tics at the microphone more obvious. The studio gloss was starting to pile up too, as a gang of producers began trying every ’80s-era trick in the book.

“Talk to Me” The first single from “Rock A Little”, “Talk to Me” was a composition by Chas Sanford, co-writer of the John Waite classic “Missing You” and later Chicago’s “What Kind of Man Would I Be?” Although Nicks struggled to nail the vocals to producer Jimmy Iovine’s satisfaction, she eventually pulled them off successfully, thanks to the encouragement of Jim Keltner, who offered to stick around and provide moral support while she recorded the song. (Yes, this story comes from the Timespace liner notes, too. They provide a wealth of background about your favourite Nicks songs.)

According to the 1991 best-of collection Timespace, “I Can’t Wait” was recorded in a single take, with Nicks writing in her liner notes. “Some vocals are magic and simply not able to beat,” Her recollections of the song’s video, however, are decidedly less positive: in I Want My MTV: The Uncensored Story of the Music Video Revolution, by Rob Tannenbaum and Craig Marks, a chagrined Nicks admits, “I look at that video, I look at my eyes, and I say to myself, ‘Could you have laid off the pot, the coke, and the tequila for three days, so you could have looked a little better’?”

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‘In Your Dreams’ (Stevie Nicks, 2011)

Dave Stewart helped Stevie Nicks find herself again. They wrote, with ink on a page – and they recorded at her house, in the manner of her best moments with Fleetwood Mac. In Your Dreams ended up turning on the rediscovery of an unfinished 1980 song called “Secret Love” that appeared on the internet before it ever got properly recorded. Nicks became determined not to just rekindle the feeling of her best days, but to bring that feeling — and that sound — into a new space for a new generation. The result is her most adventurous album. The success of her “Secret Love” reclamation project also led Nicks to dig still deeper into the vault.

’24 Karat Gold: Songs from the Vault’ (Stevie Nicks, 2014)

Filched copies of poorly recorded sessions work initially inspired 24 Karat Gold, which found Nicks — as the title suggests returning to officially unreleased songs for inspiration. She was born anew. “Twisted,” which had taken a suitably circuitous route, was one of several tracks that finally found their true voice. Then there were moments like “Lady.” A starkly emotional piano-driven ballad known to her deepest fans as the demo “Knockin’ on Doors,” it made clear that Nicks had hidden for too long behind effects — be they electronic, sartorial or otherwise. Stripped of artifice, Nicks connected on an elemental level that she simply couldn’t while swaddled in synths or shawls.

‘The Wild Heart’ (Stevie Nicks, 1983)

Nicks released her second solo album, “The Wild Heart” on June 10th, 1983. The album went double platinum, reached number five on the Billboard 200 albums chart, and featured three hit singles. It also introduced songwriter and performer Sandy Stewart as co-writer and vocalist.

Nicks’ double-platinum second solo album featured an appropriately named song: “Nothing Ever Changes.” She played to her strengths on “The Wild Heart” – and, in keeping with her status as one of the ’80s’ biggest stars, sold millions. If there’s a complaint to be made, it’s that so many of the songs were determinedly radio-ready, without the quirky mannerisms that often surrounded her work with Fleetwood Mac. In keeping, “Stand Back” this project’s biggest hit and biggest risk felt like a bolt out of the blue. The song was so inventive that it made everything else – even the underrated “If Anyone Falls,” a moody synth-driven cut that explores the emotions surrounding an unrequited love sound a little pedestrian.

“Nightbird” The last of the three singles from “The Wild Heart” may not have managed to crack the Top 20, stalling at the No. 33 position, but Nicks has nonetheless described the song one of three tracks on the album which she co-wrote with her friend Sandy Stewart as her favourite track on the album. In addition, “Nightbird” is also directly responsible for inspiring the name of the self-described “Premiere Fleetwood Mac and Stevie Nicks Tribute,” but try not to hold that against the song.

“Standback” is arguably her most recognizable solo single, a status aided immeasurably by its regular inclusion in Fleetwood Mac’s sets as well as remaining a staple of her own shows, Nicks premiered “Stand Back” during her performance at the US Festival in 1983, prefacing it with a giddy (yet sadly unfulfilled) vow to hand-deliver copies of the yet-to-be-released The Wild Heart to everyone in the audience, “sort of like Girl Scout Cookies.” Even without Nicks making good on her promise, however, both the single and the album made it to No. 5 on their respective Billboard charts.

“If Anyone Falls” Another Nicks / Sandy Stewart co-write, the second single from The Wild Heart was a song of unrequited love, with Nicks observing how, no matter how good or bad a relationship goes, the feelings continue to exist “somewhere in the twilight dreamtime / somewhere in the back of your mind.” Although it didn’t match the success of its predecessor (“Stand Back”), “If Anyone Falls” still pulled a highly respectable No. 14 placement on Billboard’s Hot 100.

‘Bella Donna’ (Stevie Nicks, 1981)

With nearly two dozen collaborators, you had to wonder if Stevie Nicks would get lost on the four-times-platinum “Bella Donna“. Instead, she acts as a sort of witchy-woman conductor for her songs, leading a strikingly talented crew through their paces on a tour-de-force solo debut. She wrote or co-wrote all but one of the tracks, save for the No. 3 Tom Petty collaboration “Stop Draggin’ My Heart Around,” during a period of remarkable productivity. Then Petty’s producer Jimmy Iovine gave Nicks a spacious, rootsy space to flourish. “Leather and Lace,” a duet with Don Henley, went to No. 6, before her career-defining “Edge of Seventeen” finished at No. 11. The result wasn’t just the best solo debut of any member of her band; it was one of the best first albums of the ’80s.

Bella Donna introduced Nicks’ permanent back-up singers, Sharon Celani and Lori Perry (now Nicks), who have contributed vocals to all of Nicks’ solo albums since.

Given that it was Nicks’ designated entry in our list of the classic rock songs, “Edge of Seventeen,” the third single from Bella Donna (but the first to be credited solely to her alone), was always destined to land atop the list of the greatest Stevie Nicks songs, but it’s a placement that’s hard to argue: any song that can survive being covered by Lindsay Lohan and having Waddy Wachtel’s famous guitar riff sampled by Destiny’s Child (“Bootylicious”) yet still come out with its reputation unscathed has more than earned its placement in the top spot.

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The fourth and final single to be released from Nicks’ 1981 solo debut, the country-tinged is “After the Glitter Fades” listed in the album credits with a copyright date of 1975, but Nicks has indicated on several occasions that it was actually written a few years earlier, placing its composition date in the 1972-73 range. As such, she and Lindsey Buckingham hadn’t yet joined the ranks of Fleetwood Mac, making the lyrics about how “what I seem to touch these days / Has turned to gold” decidedly prophetic.

“This song was written about my boyfriend’s mother who was involved with a man in Chile during the coup that happened there in 1973,” she explained. “The man she loved was banished to France. Banished – or imprisoned, that was the choice. The love story never really ended, but she never saw him again. I was so touched by this story of lost love that I wrote ‘Bella Donna.’”

Nicks revealed that the moment she finished the song was the moment she knew she had the basis for her first solo record, which she believed in “from the bottom of my heart.” The story of her boyfriend’s mother changed the way she looked at love, a concept she would explore later throughout her first album. “It defined how I would feel about love forever,” she said of “Bella Donna.” “It broke my heart and gave me the strength to fight for it.”

The album is so important to Nicks’ career. Yes, vocally the album perhaps catches some of Nicks’ finest performances. From a song writing point of view, it’s equally hard not to see Nicks in the prime of her life for penmanship. But it was the expression behind the songs that really made this album worthwhile. It was the feeling of pent up tension exposed to vibrant and gratifying freedom and allowed the artist beneath to truly be seen perhaps for the first time. Nicks would release seven studio albums on her own while still being able to work as a pivotal member of Fleetwood Mac.

Standback 1981-2017 

Music from all eight of Nicks’ studio albums are included in the set, from Top 10 hits like “Stand Back” and “Talk To Me” to “The Dealer” from her latest, 2014’s “24 Karat Gold: Songs From The Vault”. Those solo tracks are joined by Nicks’ memorable collaborations with other artists, including “Stop Draggin’ My Heart Around” with Tom Petty & The Heartbreakers, “Leather And Lace” with Don Henley, “You’re Not The One” with Sheryl Crow, and “Beautiful People Beautiful Problems” with Lana Del Rey.  “Stand Back” also explores her career on stage with outstanding live recordings, including performances from her 1981 Bella Donna tour (“Dreams” and “Rhiannon”), and her 2009 live album The Soundstage Sessions (“Sara” and a cover of Dave Matthews Band’s “Crash Into Me.”) Rounding out the collection are several of her contributions to film soundtracks, like “Blue Lamp” from Heavy Metal and “If You Ever Did Believe” from Practical Magic.

“Stand Back: 1981-2017” was the fourth compilation from Stevie Nicks. What sets this set apart from the previous releases is it expands the years covered obviously, but also includes several songs that have never appeared on a Stevie album previously.

The first disc contains 17 of Stevie’s singles from each of her seven studio albums. Yes, there are a few missing, her new tracks from her 1991 compilation “TimeSpace” and more glaringly 1989’s “Whole Lotta Trouble”. But aside from that all of the big hits are here.

Disc two features 18 tracks, each one a collaboration of some type, be it a duet or a prominent backing vocalist. This is the gem disc of the set in my opinion. More than half of the tracks on disc two have never appeared on a Stevie compilation before, and seven of those tracks have never appeared on a Stevie album period. In the case of “Golden” with Lady Antebellum the track has only appeared as a digital single and “You’re Not The One” with Sheryl Crow was a b-side to Sheryl’s 2002 track “Soak Up The Sun”. Other tracks such as “Borrowed” with LeAnn Rimes, “Santa Claus Is Coming To Town” with Chris Isaac and “Beautiful People, Beautiful Problems” with Lana Del Rey appeared on the respective artists albums. Stevie has contributed to many other artists albums since 1976 and a complete compilation could be made just of those tracks.

The third disc is something of a time machine featuring various Live tracks from throughout the years. The highlight of these tracks is the Tom Petty collaboration “Needles & Pins” from his 1985 “Pack Up The Plantation Live” album, although the song dates back to 1981. The disc closes out with a handful of Stevie’s soundtrack contributions. The final track being “Your Hand I Will Never Let It Go” from the 2017 film “Book Of Henry”. This is one of the songs that most casual fans and even some die hards may be unaware of. Each of Stevie’s compilation albums offer something different for fans. “TimeSpace” from 1991 was her first comp and featured remixed versions of her previous hits and three newly recorded tracks. 1998’s “Enchanted” gave us the hits, collaborations and unreleased tracks. It also is the only set to include a “Buckingham Nicks” track. 2007’s “Crystal Visions” brought lost of hits up to date as well as previously unreleased live tracks. And now “Stand Back 1981-2017” covers much of the same ground, but also includes tracks unique to this set.
The set has been released to commemorate Stevie’s solo induction into the Rock and Roll Hall Of Fame. This set proves that she is much more than just a member of Fleetwood Mac.

But with touring on hold, she’s bored and depressed, this pandemic has hit her so hard. Two projects were due out she says, offered a vestige of normalcy: “24 Karat Gold: The Concert,” a cinematic version of her 2017 solo show, and a politically minded new single, “Show Them the Way,” which will be accompanied by a Cameron Crowe-directed music video.

The show emphasizes Nicks’ solo career MTV standards like “Stop Draggin My Heart Around”, “Stand Back” and “Edge Of Seventeen”. Performing music from her “dark, gothic trunk of lost songs,” she tells the audience, makes her feel like she’s a 20-year-old embarking on a new career. “This is not the same Stevie Nicks show you’ve seen a million times,” she explains, “because I am different.”

“This is the show where you get to meet this girl, finally,” says guitarist Waddy Wachtel, who served as the tour’s musical director and has known Nicks since 1970. “She can relax and work her own rhythm. It’s a joy to see her get into her own songs instead of fighting to get her due in a band where there are three really strong songwriters.”

On the road, Wachtel says, Nicks travels via private plane because she has declared herself too old for tour buses. She loves lavish hotel rooms with pianos, a perk Wachtel thinks she’s earned: “She doesn’t have a husband. She doesn’t have a boyfriend. She wants a good room to be able to play her music as loud as she wants.”

She’s also decided that she wants to make another solo album and plans to spend the rest of quarantine turning the poetry from her journals into lyrics.

 The Albums

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How prolific of a songwriter was Stevie Nicks in the ’70s and early ’80s? Not only did she pen multiple Fleetwood Mac hits – “Rhiannon,” “Dreams,” “Sara” and “Gypsy,” to name a few – but she also found time to write and record a hit solo album, 1981’s “Bella Donna”.

Stevie Nicks’ first two solo albums  “Bella Donna” and “The Wild Heart” reissued via Rhino Records. Each deluxe release will feature not only the original LP but rarities and bonus tracks, like the previously unreleased demo of her solo debut’s title track, streaming below. Stripped of its backing vocals as well as the raucous live band and synthesizers featured on the original album version, Nicks’ demo is a tender, intimate take on the song. She sings softly above just the piano track, nearly whispering “Bella donna, my soul” and barely reaching the full-throated belt she unleashes on the 1981 recording.

The Legendary Fleetwood Mac singer-songwriter Stevie Nicks joined producer Jimmy Iovine to begin recording her solo debut, “Bella Donna”, following the release of the Mac’s TUSK and its subsequent tour. Nicks’ 1981 collection was quickly certified platinum thanks to singles like “Stop Draggin’ My Heart Around” (with Tom Petty and the Heartbreakers), “Leather And Lace” (with Don Henley) and “Edge Of Seventeen.” Rhino’s triple-disc deluxe edition of the collection uncovers unreleased versions of the latter two classics as well as soundtrack rarities and a concert from 1981 that features performances of songs from the album along with several Fleetwood Mac favourites.

Ahead of Best Of “24 Karat Gold” solo tour, singer-songwriter talks set lists, “sex, rock & roll and drugs” songs, and more
Later this month and just before releasing the reissues, Nicks will embark on a solo tour with opening act the Pretenders. Nicks‘ tour is in support of her 2014 album 24K Gold, a collection of songs she had cut from her prior solo releases for various reasons. “These are the glory songs,” she told of her reason to follow a multi-year world tour with Fleetwood Mac with the solo dates. “These are the sex, rock & roll and drugs songs that I’m actually not really writing right now, and these are the songs I could never write again.”

The cover of “Bella Donna,” Stevie Nicks’s first solo album, shows the artist looking slender and wide-eyed, wearing a white gown, a gold bracelet, and a pair of ruched, knee-high platform boots. One arm is bent at an improbable angle; a sizable cockatoo sits on her hand. Behind her, next to a small crystal ball, is a tambourine threaded with three long-stemmed white roses. Nicks did not invent this storefront-psychic aesthetic—it is indebted, in varying degrees, to Hans Christian Andersen’s Thumbelina, de Troyes’s Guinevere, and Cher—but, beginning in the mid-nineteen-seventies, she came to embody it. The image was girlish and delicate, yet inscrutable, as if Nicks were suggesting that the world might not know everything she’s capable of.

While Nicks’s sartorial choices have been widely mimicked, it’s rare to hear echoes of her magnanimity in modern pop songs, which are frequently defensive and embattled, preaching self-sufficiency at any cost.  “Bella Donna,” from 1981, and Nicks’s second solo album, “The Wild Heart,” from 1983, are being reissued. Nicks was thirty-three when “Bella Donna” was released. Though its cover might not suggest an excess of reason, in its songs she is a sagacious and measured presence. Her acknowledgment of the heart’s capriciousness is gentle, if not grandmotherly. There’s surely no kinder summation of love’s petulance than the chorus of “Think About It,” a jangling folk song about taking a breath before hurling yourself off a metaphorical cliff. “And the heart says, ‘Danger!’ Nicks sings. She pauses briefly. “And the heart says, ‘Whatever.’ ” For anyone busy self-flagellating over an error in judgment, this can feel like a rope ladder thrown from above—an invitation to scramble up and out of despair. It is generous and knowing, and offers a clear-eyed conclusion: some things can’t be helped.

What does it mean to be Stevie Nicks? To understand loss and longing as being merely the cost of doing business? To acknowledge the bottomless nature of certain aches, yet to know, in some instinctive way, that you’ll keep going? Nicks evokes Byron, in spirit and in certitude: “The heart will break, but broken live on.”

Nicks was born in 1948, in Phoenix. Her paternal grandfather, A. J. Nicks, Sr., was a struggling country musician, and he taught Nicks how to sing when she was four years old. She was given an acoustic guitar for her sixteenth birthday, and immediately wrote a song called “I’ve Loved and I’ve Lost and I’m Sad but Not Blue.” The title is a surprisingly succinct encapsulation of Nicks’s lyrical alchemy: a combination of acceptance (I am hurting) and perspective (I will not hurt forever).

In 1966, when Nicks was in her senior year of high school and living in Atherton, California—her father, an executive at a meatpacking company, had been relocated there—she met the guitarist Lindsey Buckingham at a party. He was sitting cross-legged on the floor—bearded, curly-haired, and strumming the Mamas and the Papas’ “California Dreamin’.” Uninvited, she joined him in harmony. (“How brazen!” she later said.) Buckingham asked Nicks to join his band, Fritz. By 1971, the two were romantically involved. They eventually took off for Los Angeles, where they tried to make it as a duo, called Buckingham Nicks, releasing one album, in 1973, to very little acclaim. Not long afterward, Buckingham was asked to join Fleetwood Mac, a British blues band featuring the singer and keyboard player Christine McVie, the bassist John McVie, and the drummer Mick Fleetwood; the group was being rebooted as an American soft-rock act. Buckingham insisted that Nicks be invited, too. She ended up writing two of the band’s biggest early hits, “Landslide” and “Rhiannon.”

Extraordinary success often leads to spiritual dissolution, and Fleetwood Mac had its share of psychic turmoil. In 1975, Fleetwood divorced his wife, the model Jenny Boyd, after she had an affair with one of his former bandmates. Nicks and Buckingham broke up the following year. Around the same time, John and Christine McVie’s marriage collapsed. There was an ungodly amount of brandy and cocaine on hand to help nullify the despair. Still, in 1977, Fleetwood Mac now five wild-eyed, newly single people—released “Rumours,” a collection of yearning songs about love and devotion. The record spent thirty-one weeks at the top of the charts, and is one of the best-selling albums in American history.

Nicks’s debt is to Laurel Canyon, and to the sentimental, silky-voiced artists who emerged from L.A. in the late sixties and early seventies. Some of those acts—James Taylor, the Eagles—are now considered, fairly or not, irrelevant to the Zeitgeist: too mellow, too affluent, too sexless, too white. Candles and incense and macramé plant hangers; wistful thoughts about weather. Nicks’s lyrics often worry over domestic or earthly concerns—gardens, mountains, flowers, the seasons—and how they might affect the whims of her heart. “It makes no difference at all / ’Cause I wear boots all summer long,” she sings in “Nightbird.” When compared with the dissonant and provocative music coming out of downtown New York, the California sound could seem limp. But the scene in Laurel Canyon was tumultuous. Many of its artists—including, at various times, Nicks—were wrecked by drug addiction. Nicks’s voice, a strange, quivering contralto, gives her songs unexpected weight.

“Bella Donna” was produced by Jimmy Iovine, a Brooklyn-born audio engineer who worked on Bruce Springsteen’s “Born to Run” and produced the Patti Smith Group’s “Easter” and Tom Petty and the Heartbreakers’ “Damn the Torpedoes.” Iovine spent time in California, but his sensibility was tougher and more plainly that of the East Coast. He later became a co-founder of Interscope Records, where he helped to establish the career of the rapper Tupac Shakur, and, for a period, he oversaw the hip-hop label Death Row Records.

“Bella Donna” reached No. 1 on the Billboard chart, and produced four hit singles: “Stop Draggin’ My Heart Around,” a duet with Petty; “Leather and Lace,” with Don Henley; “Edge of Seventeen”; and “After the Glitter Fades.” The last, a country song about the travails of stardom—Nicks wrote it just after she and Buckingham moved to Los Angeles, long before she had a record deal, showing either hubris or prescience—contains organ, pedal steel, and reassurances. “The dream keeps coming even when you forget to feel,” she sings.

Nicks, like most artists, culls inspiration from disparate sources. She is prone to saying things like “ ‘Edge of Seventeen’ was about Tom Petty and his wife, Jane, my uncle dying, and the assassination of John Lennon.” But her personal life—a tangle of love affairs, often with her collaborators—informs her work in explicit ways. “Heartbreak of the moment isn’t endless,” she sings, in “Think About It.” This might seem like a billowy platitude, but if you are someone who does not think that every flubbed decision is fodder for personal growth, it is comforting to hear someone assert that nearly all mistakes can be neutralized, if not conquered. If “Bella Donna” contains a single directive, it’s to love freely, love fully, and hang on. The songs Stevie Nicks left off her debut solo LP “Bella Donna”, You can hear why “Blue Lamp” didn’t end up on “Bella Donna” The song has a darker, rock-oriented vibe that’s quite different from the rest of the album. However, it’s one of Nicks’ finest solo songs, based on a “dark blue Tiffany lamp” from her mom that “symbolized to me the light that shines through the night,” as she told The Source in 1981.

“When Fleetwood Mac  we found them or they found us or whatever you know – it was a definite light at the end of the tunnel for both Lindsey Buckingham and I.” However, Nicks also saw the song represent new beginnings in her solo career. “It was very important that it found a place for itself,”.”I love that song. It was really the beginning of Bella Donna, because it was the first thing I’d ever recorded with other musicians, and it was the first time I’d ever recorded by standing in a room singing at the same time that five guys were playing. Fleetwood Mac doesn’t record that way. They record from a more technical standpoint.”
It seemed inevitable Nicks would have had a song on the “Fast Times At Ridgemont High” soundtrack – after all, her manager, Irving Azoff, co-produced the movie. However, “Sleeping Angel” was certainly no tossed-off leftover; in fact, it’s one of Nicks’ most gorgeous and emotional songs from the era.

Driven by elegiac piano from E.Streeter Roy Bittan and lush backing vocals from Lori Perry and Sharon Celani, Nicks defines the respect she needs in and from a relationship: “I need you because you let me breathe / Well, you’ve taken me away / But never take me lightly / Or I could never stay.”

Incredibly enough, Nicks never actually recorded “Gold and Braid” in the studio, although she played it live on early ’80s solo tours. In concert, it’s a barn-burning rocker that serves as a perfect contrast to Bella Donna’s folkier songs and hints at what it might have sounded like had Nicks followed through on her desire to join Tom Petty and the Heartbreakers.

Nicks’ original demo for “24 Karat Gold” is piano-heavy and meditative, with almost stream-of-conscious vocals. The version that surfaced later on “24 Karat Gold” maintains the bones of her demo, the piano especially, but turns into a compact cautionary tale about ill-fated fame and love.

“‘Belle Fleur’ was about not being able to have a relationship because you were a rock ‘n’ roll star,” she said in 2015. Fittingly, one demo for the song is just piano and voice, featuring Nicks and her backing singers – a sisterhood of support that’s always been a through-line in Nicks’ work. “The [lyric] ‘When you come to the door of the long black car’ ,that’s the limousine that’s coming to take you away. Then your boyfriend is standing on the porch waving at you, like, ‘When are you going to be back?’ And you’re like, ‘I don’t know, maybe three months?’ But then we would add shows to a tour, and I could end up not being back for six months. It was difficult for the men in my life. I lived that song so many times.”

See the source imageIn 1981, Iovine flew with Nicks to the Château d’Hérouville, in northern France, where Fleetwood Mac was recording its next album, “Mirage.” Iovine left almost immediately, to escape the interpersonal conflicts that roiled the band. Iovine and Nicks’s relationship foundered. The following fall, while Fleetwood Mac was on tour, Nicks’s childhood friend Robin Anderson died, of leukemia, at the age of thirty-three. “What was left over was just a big, horrible, empty world,” Nicks has said. Days before her death, Anderson had prematurely given birth to a son. Nicks, operating under the savage logic of grief, married her friend’s widower, Kim Anderson, thinking that she would help raise the child. They divorced three months later.

By 1983, Nicks was ready to make another record. Her relationship with Iovine was strained, but Nicks asked him to produce the record anyway. “The Wild Heart” is inspired in part by the unravelling of that relationship, and in part by her mourning for Anderson. Nicks frequently cites as a guiding influence for the recording sessions the 1939 film adaptation of Emily Brontë’s “Wuthering Heights,” which depicts an undying, almost fiendish love. Mostly, the songs are about bucking against the circumstances that separate us from the people we need.

The artist Justin Vernon, of the band Bon Iver, uses a brief sample of “Wild Heart” (a track from “The Wild Heart”) on the group’s new album, “22, A Million.” Nicks’s voice is sped up, pitch-altered, and barely discernible as human—just a high, grousing “wah-wah,” deployed intermittently. Vernon pinched it from a popular YouTube video of Nicks, in which she sits on a stool having her makeup done, wearing a white dress with spaghetti straps. She begins to sing. Soon, someone is messing with a piano; one of her backup singers joins in with a harmony. The makeup artist gamely tries to continue with her work, before giving up. While the studio recording of “Wild Heart” is saturated, almost wet, this version is all air, all joy.

What affects me most about the video is how profoundly Nicks appears to love singing. Her voice has an undulating, galloping quality. It is as if, once it’s started up, there’s no slowing down, no stopping; the car is careering down a mountain, with no brakes. You can see on her face how good it feels just to let go.

“Stand Back,” the first single from “The Wild Heart,” was inspired by Prince’s “Little Red Corvette,” which Nicks heard on the radio while driving with Kim Anderson to San Ysidro Ranch, in Santa Barbara, for their honeymoon. (Prince played keyboards on the track, though he’s not credited in the album’s liner notes.) The song was produced in accordance with the style of the era, with lots of synthesizer and rubbery, overdubbed percussion. The lyrics describe a deliberate seduction followed by an acute betrayal. “First he took my heart, then he ran,” Nicks sings. The chorus is appropriately punchy: “Stand back, stand back,” she warns. Nicks is capable of going fully feral before a microphone, perhaps most famously at the end of “Silver Springs,” a song intended for “Rumours” and one of several that she wrote about Buckingham. (It ends with Nicks hollering, “Was I just a fool?”) On “Stand Back,” she erupts briefly, on the middle verses, but for the rest of the song she is more characteristically sanguine. “It’s all right, it’s all right,” she concedes. “I did not hear from you, it’s all right.”

Nicks has gone on to make six more solo albums, and three more with Fleetwood Mac. Following her divorce from Kim Anderson, she never married again, or had any children, though a rich maternal instinct runs through all her songs. This, more than anything else, may be the reason that Nicks’s work has endured.

Dave Grohl drums on Stevie Nicks first new song in nine years

Stevie Nicks has released her first new single in nine years, ‘Show Them The Way’, and it features Foo Fighters legend Dave Grohl on drums. The song was inspired by a dream Nicks had involving Martin Luther King Jr., John F. Kennedy, Bobby Kennedy and John Lewis before the 2008 presidential election. Nicks only decided to record the song for release this year, finding the track to be a hopeful source during this “very strange and dangerous time.” #The musician revealed that the song started out as a poem, and considers it to be “a prayer for our country.” “I felt that this was its time, its reason,” she said in a statement. “I understood what it meant then and what it means now. Please God, show them the way. Please God, on this day. Spirits all, give them the strength. Peace can come if you really want it. I think we’re just in time to save it. “I hope that this song and its words will be seen as a prayer. A prayer for our country. A prayer for our world.”

Official music video for Stevie Nicks – “Show Them The Way” Later this month, Stevie Nicks will unveil her concert film Stevie Nicks 24 Karat Gold The Concert.

Singer songwriter and Fleetwood Mac’s Stevie Nicks has announced a new concert film set to screen in movie theatres for two nights only in October.

Filmed in 2017 during Stevie Nicks’ 24 Karat Gold Tour, “24 Karat Gold The Concert” sees the iconic singer delivering beloved hits and rare gems from throughout her storied career as both a solo artist and member of Fleetwood Mac. The film’s set list includes classic songs like “Rhiannon,” “Stop Draggin’ My Heart Around,” “Edge of Seventeen,” “Stand Back” and “Landslide.”

The singer also provides rare insight to her music throughout the movie, discussing the inspiration behind many of her legendary songs. “The 24 Karat Gold Tour was my all-time favourite tour,” Nicks has proclaimed in a press release. “I not only got to sing my songs, but I was able to tell their stories for the first time. I love having the opportunity to share this concert with my fans.”

The film will be released theatrically worldwide for two nights only on October. 21st and 25th, screening at select movie theaters, drive-ins and exhibition spaces. Tickets go on sale September. 23rd at StevieNicksFilm.com. The website also provides the most up-to-date information regarding participating theaters. Filmed at the Indianapolis and Pittsburgh stops of her 2016/2017 tour with The Pretenders.

You can watch the trailer for 24 Karat Gold The Concert,

In addition to the movie, a companion live double album will be released October. 30th. The two-CD version will be available exclusively at Target stores, while the digital version will be released on most major streaming platforms the same day. It will also be available on vinyl, with a limited-edition “Crystal-Clear” version sold exclusively at Barnes & Noble.

In anticipation of the album, Nicks also released a new live version of the Fleetwood Mac favourite “Gypsy,” Stevie was recently one of many people to pay tribute to Fleetwood Mac co-founder Peter Green. “My biggest regret is that I never got to share the stage with him,” she said. “I always hoped in my heart of hearts that that would happen. When I first listened to all the Fleetwood Mac records, I was very taken with his guitar playing. It was one of the reasons I was excited to join the band.”

Stevie Nicks BMG Rights Management Bass: Al Ortiz Guitar: Carlos Rios Keyboards: Darrell Smith Drums: Drew Hester Background Vocals: Marilyn Martin Keyboards: Ricky Peterson Background Vocals: Sharon Celani  Guitar: Waddy Wachtel .

 

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Steve Nicks visited Atlantic Records‘ president Doug Morris and made her pitch for her first solo record: “So, listen, what I’d really like to do is be in Tom Petty and the Heartbreakers’ band. He said, ‘No. That’s not going to happen.'” She then asked: “So I can make, like, a Tom Petty girl album?” And so she made the album “Bella Donna”.

Bella Donna would mark the beginning of Nicks’ trend of calling upon her many musician friends and connections to fully realize her sparse demo recordings. Along with friends Tom Petty and Don Henley, Nicks brought in session musician Waddy Wachtel, Bruce Springsteen’s E-Street Band pianist Roy Bittan, and Stax session man Donald “Duck” Dunn of Booker T. & the MGs.

Though Bella Donna personnel list includes some 20 musicians, the album is very much Nicks’ own work, with all but one of the songs on the record written by her. The album also marked the first recording featuring Nicks’ backing vocalists, Sharon Celani and Lori Perry, who still record and tour with Nicks today.

Tom Petty met Nicks while he was recording his group’s album “Damn The Torpedoes”. She asked him half-jokingly if he could write her a song that she could record for her first solo album. Petty didn’t take her request seriously at first, but Nicks reiterated her request a year later as Petty was putting together his “Hard Promises” album. Petty had wrote a ballad called “Insider” at his home, played it to the Heartbreakers (to their approval), recorded a demo with his band, and sent the demo to Nicks. After listening to the demo of “Insider,” Nicks visited Petty at his studio, taped the song with Petty and the Heartbreakers, then gave the tape to Petty, saying, “You love this so much… You take the song.” He did, and included it on Hard Promises.

Shortly after Insider was finished, Petty and company recorded a song that he and guitarist Mike Campbell had composed about a year earlier…“Stop Draggin’ My Heart Around” – and sent that demo to Nicks’ then producer, Jimmy Iovine. She loved it, saying, “That’s what I wanted all along.” Nicks and Petty ended up doing it as a duet.

Chrissie Hynde would often sing the Petty role in this song when she toured with Stevie Nicks in the ’00s. They would have a lot of fun with the song..
This song is about a couple with a complicated relationship. She wants to get rid of him, but he has a hold on her heart. When she tells him to stop dragging that heart around, he explains that he’s just trying to protect her, as “you need someone looking after you.”
Many of the songs Nicks has sung over the years involve hearts in different states of breaking, and many are about her intimate relationships, written either by her or her Fleetwood Mac bandmate/soulmate, Lindsey Buckingham. This song is one of the few she could sing without dealing with the emotional baggage behind it, as it has nothing to do with her personally.
Nicks wanted Petty to produce “Bella Donna”. He gave it a shot, but it didn’t work out and Jimmy Iovine was brought in. This created an interesting dynamic as Iovine and Nicks began living together while they were making the album.

This was the biggest hit for either Stevie Nicks (as a solo act) or Tom Petty and the Heartbreakers (who had a competing single out at the time  “Woman In Love” – that didn’t chart) In addition to being The Heartbreakers’ guitarist, Mike Campbell has played on albums by many other artists, including several by Stevie Nicks. He told us how this came together: “I had written the music and Tom had written the words. The Heartbreakers had recorded a version of it with Jimmy Iovine, and Jimmy being the entrepreneur that he was, he was working with Stevie, and I guess he asked Tom if she could try it, and it just developed from there. We cut the track as a Heartbreakers record and when she decided to do it we used that track and she came in and sang over it.”

This had the good fortune of being released around the time MTV went on the air. They didn’t have many videos at the time, so this got a lot of airplay. It introduced a younger audience to Nicks and Petty.
Bella Donna was Nicks’ first solo album. Her output with Fleetwood Mac sold extremely well, but solo success was hardly ensured. When Nicks finished the album, her producer Jimmy Iovine told her she didn’t have a single, and if she didn’t record “Stop Draggin’ My Heart Around,” “your record’s going to tank and then you’re not going to have a solo career.”
Nicks was dismayed about removing one of the songs on the album to make room for the track, but she took Iovine’s advice. “I went home and said, ‘You’ve got to drop this self-esteem you’ve got going on right now and realize that the whole reason you even hired Jimmy Iovine was because he produced Tom Petty and you always wanted to be in Tom Petty And The Heartbreakers, Nicks said while introducing the song in concert. “I said: ‘Okay, I’ll do it.’ So, anyway, ‘Stop Draggin’ My Heart’ became a huge single, all because Tom Petty was generous enough to give me that song.”

The song was released as the first single setting the stage for more hits. The next single was another duet: “Leather And Lace” with Don Henley, which reached #6. It wasn’t until the third single that Nicks was finally on her own: “Edge Of Seventeen”.
A few years after this was released, Dave Stewart of Euryhmics wrote “Don’t Come Around Here No More,” which he and Iovine started producing for Nicks. By this time, Iovine and Nicks had broken up, and when she came over to work on the song, things didn’t go well and she stormed out. Iovine brought in Tom Petty and they completed the song with him, something Nicks knew was fair considering “Stop Draggin’ My Heart Around” went on her album.
On her 2001 album Trouble In Shangri-La, Nicks thanked Petty in the liner notes. She asked him to write another song for her, but he refused and encouraged her to write it herself. After that conversation, she started writing songs for the album. Tom Petty had a connection to another song on the album. His wife, Jane, told Nicks that she was “at the age of 17” when she met Tom. Like her husband, Jane was from Gainesville, Florida, and had such a strong country accent that Stevie thought she said “edge of 17,” which provided the title for one of her most popular songs.In the liner notes to her Time Space album, Stevie Nicks said: “Jimmy (Iovine) played this song to me while he was still finishing Tom’s album; it was one of those songs that Tom was not going to do, and he told Jim that I could do it. I wasn’t used to doing other people’s songs, so I didn’t really like the idea at first, but I loved Tom Petty, so I agreed to try. So we went into the studio and sang it live, together. I was completely entranced, and I instantly fell into love with the song. Duets were the things I loved the most… maybe this was a second beginning. And we would sing like no one else, and nobody else would ever sing like us.”

Petty and Nicks reunited to perform this song when Petty was honored as the MusiCares Person of the Year on February 10th, 2017. Before giving her induction speech, Harry Styles sang this with Nicks when she entered the Rock and Roll Hall of Fame in 2019 as a solo artist.

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Fleetwood Mac debuted their new revamped lineup by performing “The Chain” and “Gypsy” on Wednesday’s edition of The Ellen DeGeneres Show.

The televised appearance marked the longtime band’s first time playing live alongside guitarists Mike Campbell, formerly of Tom Petty and the Heartbreakers, and Crowded House’s Neil Finn, both of whom stepped in after Fleetwood Mac fired Lindsey Buckingham last April.

Both guitarists featured prominently in the performances, flanking to the left and right of Stevie Nicks; on both “The Chain” and “Gypsy,” Finn handled the vocal parts previously sung by Buckingham, particularly on “The Chain,” where Finn and Nicks showcased their budding vocal chemistry.

They played two classic songs, “The Chain” and “Gypsy,” which you can watch below.

Host Ellen DeGeneres introduced the group by saying that it’s sold more than 100 million albums and calling Fleetwood Mac “one of the most iconic bands in music.” Finn quickly answered fans’ questions about how his voice would fit in place of the departed Lindsey Buckingham by taking the lead on “The Chain.”

Campbell then switched guitars in order to play the song’s outro solo. For “Gypsy,” Campbell pulled double-duty, playing guitar as well as the song’s keyboard hook.

After “The Chain,” DeGeneres hugged Stevie Nicks and briefly spoke with the singer. The host acknowledged that it was a thrill to have them on her show because Fleetwood Mac usually don’t perform on TV.

Nicks introduced Finn and Campbell and promoted the band’s upcoming tour. DeGeneres added that her show is giving away a pair of tickets to every date. You fans can enter the contest at her website.

“There are 10 hits we have to do,” Nicks has previously said of the tour. “That leaves another 13 songs if you want to do a three-hour show. Then you crochet them all together and you make a great sequence and you have something that nobody has seen before except all the things they want to see are there. At rehearsal, we’re going to put up a board of 60 songs. Then we start with number one and we go through and we play everything. Slowly you start taking songs off and you start to see your set come together.”

Fleetwood Mac’s tour begins on October. 3rd in Tulsa, Oklahoma., with the first leg wrapping up with two nights at the Forum in Los Angeles on December. 11th and 13th.

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In December 2012, three members of Fleetwood Mac cried together, in public, at the memory of something that had happened all of 25 years previously. Singer Stevie Nicks, guitarist Lindsey Buckingham and drummer Mick Fleetwood were doing a round of media interviews to announce the band’s 2013 tour when they were asked about the events of 1987, when Buckingham quit the band following the release of the album “Tango In The Night.” 

Tango In The Night was released on April 13th, 1987. The first single from the album, “Big Love“, was already a Top 10 hit on both sides of the Atlantic, It was their fourteenth studio album, 

Buckingham did not respond directly to the interviewer. Instead he turned to Nicks and Fleetwood and reiterated his reasons for leaving the group at a critical stage of their career: foremost among them, his sense that Nicks and Fleetwood had lost their minds and souls to drugs. 

“What Lindsey said in that interview was very moving,” Fleetwood says. “He told us: ‘I just couldn’t stand to see you doing what you were doing to yourselves. You were so out of control that it made me incredibly sad, and I couldn’t take it any more.’ It was really powerful stuff. This was someone saying: ‘I love you.’ It hit Stevie and me like a ton of bricks. And we all cried, right there in the interview.” 

It was a moment that Mick Fleetwood still describes as “profound”. But even after all these years, his memories of that time in 1987 are still raw. For when Lindsey Buckingham walked out on Fleetwood Mac, he did not go quietly. When Buckingham told the band he was leaving, it led to a blazing argument that rapidly escalated into a physical altercation between him and former lover Nicks, in which she claimed she feared for her life. 

“It is,” Fleetwood says, “a pretty wild story. It was a dangerous period, and not a happy time.” And yet, for all the drama that came with it, “Tango In The Night” was a hugely important album for Fleetwood Mac. It became the second biggest-selling album of their career, after 1977’s 45-million-selling “Rumours“. 

In 1985, Lindsey Buckingham was writing and recording songs for what was planned as his third solo album. Fleetwood Mac had been on indefinite hiatus since 1982, following a world tour in support of their album “Mirage“. In that time there had been solo albums from all three singers: Nicks’ The Wild Heart sold a million copies; Christine McVie’s eponymous album yielded a US Top 10 hit with Got A Hold On Me; but, to Buckingham’s chagrin, his album Go Insane had not made the Top 40. 

There had also been problems for them over these years. Nicks had been treated for drug addiction. More surprisingly, Mick Fleetwood had been declared bankrupt following a string of disastrous property investments. “At that time,” Buckingham later admitted, “the group had become a bit fragmented.” 

By the end of ’85, Buckingham – working alone at his home studio in Los Angeles – had three songs finished: Big Love, Family Man and Caroline. But while he was busy making music, Mick Fleetwood was busy making plans to get the band back on track. 

The wheels had been set in motion when Christine McVie recorded a version of the Elvis Presley hit Can’t Help Falling In Love for the film A Fine Mess – backed by Mick Fleetwood and the band’s other remaining founding member, her ex-husband John McVie. She invited Buckingham to produce, alongside engineer Richard Dashut. 

“It was the first time for nearly five years that we’d all been in a working environment together,” Christine said. “We had such a good time in the studio and realised that we still had something to give each other in musical terms after all.” Mick Fleetwood was more forthright. “The reality,” he says, “is that Fleetwood Mac were intending to make an album. And Lindsey was in many ways pressured into it. ‘Hey, we’re making an album – let’s go!’” 

Buckingham relented, partly out of a sense of duty. “I had a choice,” he said, “of either continuing on to make the solo record, or to sort of surrender to the situation and try and make it more of a family thing. I chose the latter.” What Fleetwood didn’t know is that Buckingham’s agreement was conditional. “I had the idea,” Buckingham said, “that that was going to be the last work with the group.” 

The biggest problem for Lindsey Buckingham was, of course, Stevie Nicks. “I’ve known Stevie since I was 16 years old,” he said. “I was completely devastated when she took off. And yet I had to make hits for her, So on one level I was a complete professional in rising above that, but there was a lot of pent-up frustration and anger towards Stevie in me for many years.”

“He got very angry with me,” Nicks has said. “He tossed a Les Paul across the stage at me once and I ducked and it missed me. A lot of things happened because he was so angry at me.” Buckingham’s frame of mind was not helped by the not inconsiderable success that Nicks enjoyed in her solo career. In 1981, her solo debut, “Bella Donna“, went to No.1 in US. Other hit albums and singles followed. Buckingham’s solo records sold next to nothing. 

For all that, Buckingham threw himself into the album. He either wrote or co-wrote seven of the 12 tracks that made the finished album. He also acted as co-producer with Richard Dashut. And it was at his home studio that most of the recording was done. 

What was unusual about the recording of Tango In The Night was the absence of Stevie Nicks for much of the process. Nicks actually contributed three songs to the album, but was in the studio for only two to three weeks. 

One trick of Buckingham’s, in Big Love, was especially brilliant. For the song’s climax, he used variable speed oscillators on his voice to create the effect of a male and female in a state of sexual excitement – the “love grunts”, as he called them. 

“It was odd that so many people wondered if it was Stevie on there with me,” he said, a little disingenuously. Although there were other great songs on the album – slick pop rock tunes in the classic Fleetwood Mac style, such as Christine’s “Little Lies” and “Everywhere”, and Stevie’s “Seven WondersFleetwood calls Tango In The Night “Lindsey’s album”. But for Buckingham himself, there was a sense that in the transition from solo album to band album, something had been lost. A perfectionist, intensely analytical, he felt that Tango In The Night was too predictable, too safe. 

“She was not hugely present,” Fleetwood says. “I don’t remember why. And I don’t think we would remember. Fleetwood says that he and Nicks were doing more cocaine during the making of “Tango” than when they were recording “Rumours” an album on which they seriously considered thanking their drug dealer in the credits. 

“Certainly, I smoked a lot of pot. But I was never a big user of coke,” Buckingham adds. 

“Actually,” he admits, “it was way worse on “Tango In The Night.” For sure.” 

While Tango was being recorded at his home, he found a way of keeping the two cokeheads – plus assorted hangers-on – at a safe distance.

Lindsey had a Winnebago put in his driveway,” Fleetwood says. “And that’s where Stevie and I would go with our wrecking crew. With me, the party never stopped. It wasn’t until years later that I asked him: ‘What was all that about?’ And he said: ‘I couldn’t stand having you punks in the house. You’d turn up at the studio with people that you’d met from the night before, and you’d start gooning around. You were too fucking crazy.’ Lindsey was never a drama queen, enjoying the 80s drug culture like Stevie and me. It wasn’t his scene.

The drug taking was only one part of the problem. There were other things eating away at Buckingham.

Just as Rumours had done in the 70s, so Tango In The Night defined the soft rock era of the 80s. Perhaps most significant of all, it marked the third coming of the Mac, following the successes of the Peter Green-led blues rock Mac of the late 60s and the Buckingham/Nicks-fronted AOR The the Mac of the 70s. And for Mick Fleetwood, it represented a personal triumph. Mick Fleetwood is not sure it is simple coincidence that Fleetwood’s two biggest-selling albums, “Rumours” and “Tango In The Night”, were made when the band was at its most dysfunctional. “Also,” he says, “I’m not sure I should be so proud of it.” 

While he freely admits that his own drug-fuelled insanity was instrumental in Lindsey Buckingham’s exit, it was Fleetwood who kept the band together once Buckingham had gone. And this was key to the success of “Tango In The Night“. In the 90s, Buckingham re-joined Fleetwood Mac, and, more importantly, made his peace with Stevie Nicks. They have both come a long way since that dark day in 1987: Buckingham now married and a father of three, Nicks happily drug-free. All that remains between them is what Mick Fleetwood calls “the good stuff”. 

“My motto” Fleetwood says, “was ‘the show must go on’. It was almost an obsessive-compulsive desire to not give up. And it worked.”

The 1975 eponymous album by Fleetwood Mac (that features the current line-up) will be reissued as a five-disc super deluxe edition in January 2018.  The original album is newly remastered and features on CD and vinyl LP in the box set. The CD also includes the original single mixes of Over My Head, Rhiannon, Say You Love Me and Blue Letter.  Like the previous Fleetwood Mac sets there’s plenty of unreleased outtakes, the super deluxe features a completely alternate version of the album (none of it ever released before), along with a handful of live tracks and a couple of jam/instrumentals. Released in 1975, Fleetwood Mac will be given a special reissue treatment . The album — the first to feature the quintet Lindsey Buckingham, Mick Fleetwood,Christine McVieJohn McVie, and Stevie Nicks — featured the hits and live staples “Landslide” (Nicks), “Rhiannon” (Nicks), “Monday Morning” (Buckingham), and “Over My Head” (Christine McVie).

Fleetwood Mac photographed in 1976

The third CD features 14 live tracks (all previously unreleased) while disc four is a DVD which features a 5.1 surround sound mix of Fleetwood Mac, a hi-res stereo version of the album and those four single versions.

Completing the set is the LP version of the original album pressed on 180-gram vinyl. The packaging sounds consistent with what was issued for previous albums (Rumours, Tusk, Mirage and Tango In The Night) since this comes in a 12″ x 12″ embossed sleeve with in-depth sleeve notes and new interviews with all the band members.

This five-disc Fleetwood Mac box set will be released on 19th January from Warner Bros. Records. A two-CD expanded edition featuring the first two discs in the box will also be issued.

Fleetwood Mac will release an expansive, 30th anniversary edition of their 14th studio album, 1987’s Tango in the Night, on March 10th via Warner Bros. Records. The reissue is packaged in three formats: a one-CD set featuring remastered audio, an expanded two-CD version with rare and unreleased recordings and a deluxe version featuring three CDs, a 180-gram LP and a DVD with music videos and a high-resolution version of the album.

Christine McVie Singer-songwriter looks back on heady days at Château d’Hérouville, discusses band’s future plans
With Tango in the Night, Fleetwood Mac fully immersed themselves in the decade’s glossy production style. Showcasing the diverse styles of primary songwriters Lindsey Buckingham, Stevie Nicks and Christine McVie, the 12-track LP spawned a quartet of hit singles: “Big Love,” “Seven Wonders,” “Everywhere” and “Little Lies.” Their second highest-selling album behind 1977 masterwork Rumours, it remains the group’s final studio project with the classic quintet line-up of Buckingham, Nicks, McVie, John McVie and Mick Fleetwood.
The deluxe and expanded reissues features a disc of 13 previously unheard recordings, including an alternate version of shimmering Christine McVie ballad “Mystified,” a demo of Buckingham’s epic, percussion-heavy title-track and rare B-sides “Down Endless Street” and “Ricky.” The deluxe edition offers a third disc with 14 12-inch mixes – including dub versions of “Seven Wonders and “Everywhere” – and a DVD with videos of “Big Love,” “Seven Wonders,” “Little Lies,” “Family Man” and “Everywhere.”
Buckingham and Christine McVie recently announced an album of duets tentatively titled Buckingham McVie. The set, which features contributions from John McVie and Fleetwood, is loosely slated for a May release.

Fleetwood Mac have spent the past few years reissuing their peerless back catalogue in the obligatory remastered, expanded, deluxe editions. Last year brought us the 1982 album “Mirage” which somehow managed to make an album already slathered in cocaine sound even more cokey, all sheen and shine.

Next up is Tango in the Night, coming out on Warner on 10th March, They’ve got this early, unreleased version of the Stevie Nicks track Seven Wonders for you. It’s longer but also a little harsher than the album version, drawing out the fatalism of the chorus and de-emphasising the keyboard hook.

Tango in the Night came out five years after Mirage, and had originally been planned as a Lindsay Buckingham solo record – Nicks spent only two weeks in the studio with the band because she was concentrating on her solo career. Be thankful that it became a full-band record, because the album became defined not by his songs but by the contributions of the other writers; without the two singles from Christine McVie“Everywhere” and “Little Lies” – it would be a very different record. While many Mac fans might have their favourite writer in the group, it takes all three of Buckingham, Nicks and McVie to balance the group.

That balance is what makes Tango in the Night so great. For all that the music is of a piece – sophisticated, slick, without ever being over-complicated – it manages to shift through moods effortlessly. Buckingham is on edge throughout and has explained that Big Love, his single from the album, gets misinterpreted: when he sings that he is “looking out for love”, he doesn’t mean he is looking for love, he is putting himself on guard for it. In the title track, he’s restless, discomfited (“Try to sleep, sleep won’t come”); Caroline upbraids a woman who is crazy and lazy; Family Man seems to be a hymn to domestic stability, but even then he can’t help observing that “the road gets tough”.

McVie’s songs appear much more straightforward. “Everywhere” is a simple, gorgeous statement of love; “Little Lies” its counterpart, the realisation that the feelings of Everywhere depend on self-deception. Nicks’s are neither straightforward, nor angry: Welcome to the Room … Sara was written after treatment at the Betty Ford clinic, and uncertainty echoes throughout her contributions (“If I see you again / Will it be the same?” she asks on When I See You Again. “If I see you again / Will it be over?”), and “Seven Wonders” exemplifies that, with Nicks confronting the notion that even living to see the seven wonders will never match what she has lost.

Fleetwood Mac – Tango in the Night

Reissue Track List (Deluxe Edition)
Disc One: Original Album – 2017 Remaster
1. “Big Love”
2. “Seven Wonders”
3. “Everywhere”
4. “Caroline”
5. “Tango In The Night”
6. “Mystified”
7. “Little Lies”
8. “Family Man”
9. “Welcome To The Room… Sara”
10. “Isn’t It Midnight”
11. “When I See You Again”
12. “You And I, Part II”
Disc Two: B-Sides, Outtakes, Sessions
1. “Down Endless Street”
2. “Special Kind Of Love” (Demo)*
3. “Seven Wonders” (Early Version)*
4. “Tango In The Night” (Demo)*
5. “Mystified” (Alternate Version)*
6. “Book Of Miracles” (Instrumental)
7. “Where We Belong” (Demo)*
8. “Ricky”
9. “Juliet” (Run-Through)*
10. “Isn’t It Midnight” (Alternate Mix)*
11. “Ooh My Love” (Demo)*
12. “Mystified” (Instrumental Demo)*
13. “You And I, Part I & II” (Full Version)*
*Previously Unissued
Disc Three: The 12″ Mixes
1. “Big Love” (Extended Remix)
2. “Big Love” (House On The Hill Dub)
3. “Big Love” (Piano Dub)
4. “Big Love” (Remix/Edit)
5. “Seven Wonders” (Extended Version)
6. “Seven Wonders” (Dub)
7. “Little Lies” (Extended Version)
8. “Little Lies” (Dub)
9. “Family Man” (Extended Vocal Remix)
10. “Family Man” (I’m A Jazz Man Dub)
11. “Family Man” (Extended Guitar Version)
12. “Family Party” (Bonus Beats)
13. “Everywhere” (12″ Version)
14. “Everywhere” (Dub)
Disc Four: The Videos (DVD)
1. “Big Love”
2. “Seven Wonders”
3. “Little Lies”
4. “Family Man”
5. “Everywhere”
(Plus a High-Resolution Stereo Mix of the Original Album)

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Tom Petty is headlining one of the British summertime shows this July. Following great trips over the past few years to The Rolling Stones, Neil Young and The Who we’re thrilled to be heading back to one of the great summer events.

These festivals are brilliantly organised and we would highly recommend upgrading to Gold or Diamond VIP packages.

These gives you access to the VIP summer garden area which offers a selection of exclusive bars, restaurants, comfy seating (and toilets without long queues :-))

Diamond VIP includes access to a small pit right in the very front of the main stage.

Gold VIP includes access to a secondary pit just behind the Diamond section
check out Badlands