Stevie Nicks has dedicated a rare demo of “Touched By An Angel” to the lives lost in Orlando. đš “Sometimes~ In a difficult situation, a song from the past will call out to me. Concerning what happened in Orlando~ I hope these words might be comforting to those involved. I dedicate âTouched by an Angelâ to all those lost~ and all those left behind. I have included the original demo because it is my favorite version. This was my mothers favorite song~ All my love, Stevie Nicks,
Sometimes~ In a difficult situation, a song from the past will call out to me. Concerning what happened in Orlando~ I hope these words might be comforting to those involved…
This past Friday, February 26th, the âShake It Outâ singer took to the stage Florence and the Machine performing Fleetwood Macâs âSilver Springsâ at St. John at Hackney church in London during a benefit for War Child a pitch-perfect. Florence recorded Live at St John at Hackney in London, on February 26th, 2016.
Florence + The Machinenever ceases to amaze us with their stunning performances. Whether itâs originals or covers weâre always grateful to hear Florence Welchâs powerhouse vocals. This weekend we got an extra special performance in the form of a brand new cover from the band. They treated us to a stripped down version of the Stevie Nicksâ penned âSilver Springsâ from Fleetwood Macâs Rumours album.
To support War Child UK. The London based charity aids children that have been affected by war across the world. In conjunction with O2, the charity puts on small benefit concerts across London as part of their Passport to the BRITs events. Multiple British artists put on performances to raise money and awareness for this worthy cause, Also the event included Lianne La Havas, Bloc Party, and Above & Beyond.
Vinyl debut, Triple-LP Collection Features 22 Live Recordings From The Bandâs 1979-80 Tour, That Were Previously Available Only As Part Of The Tusk: Deluxe Edition, Available On March 4th From Warner Bros. Records
Fleetwood Mac unveiled a massive Deluxe Edition of its revered double album Tusk late last year that featured 22 previously unreleased live performances selected from the bandâs 1979-80 tour. Until now, those concert recordings have only been available as part of the set and only on CD and digitally. That will change soon with the release of FLEETWOOD MAC: IN CONCERT.
All of the live music from the 2015 reissue of Tusk will be available on March 4th from Warner Bros. Records as a three-LP set. Pressed on 180-gram vinyl, the albums will be presented in a tri-fold jacket.
Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks originally released Tusk in October of 1979. The GrammyÂŽ Award-nominated, double-album went onto sell more than four million copies worldwide and introduced fans to hits like âSara,â âThink About Me,â and the title track.
The music heard on In Concert was recorded at four stops during the bandâs 111-show world tour promoting Tusk. This new collection serves as a worthy companion to the classic 1980 album Live. Although a few songs are duplicated from that album, including âSay You Love Me,â âLandslideâ and âGo Your Own Way,â each performance on In Concert is unique and taken from a different show.
In Concert boasts 10 songs not heard on Live, including âWorld Turningâ from the Fleetwood Macâs 1975 self-titled release, and âThe Chainâ from the bandâs best-selling album Rumours (1977), a Grammy-award winning juggernaut that has sold more than 40 million copies.
Several songs from IN CONCERT were recorded at the Checkerdome in St. Louis just a month after the release of Tusk, and only seven shows into the tour. Those performances capture the band already in top form on songs like âAngel,â âSave Me A Placeâ and âWhat Makes You Think Youâre The One.â
The rest of the performances were recorded several months later, including 11 songs from the bandâs six-night stand at Wembley Arena in London in June 1980. Among the highlights are âThatâs Enough For Me,â âSisters Of The Moon,â and the Top 10 smash from Rumours, âYou Making Loving Fun.â
FLEETWOOD MAC: IN CONCERT
LP Track Listing
Side One
1.Intro (Wembley, 06/26/80),2.âSay You Love Meâ(Wembley, 06/26/80), 3.âThe Chainâ (Wembley, 06/20/80) 4.âDonât Stopâ (Wembley, 06/27/80), 5.âDreamsâ (Wembley, 06/20/80)
Side Two
1.âOh Wellâ (Wembley, 06/20/80), 2.âRhiannonâ (Tucson, 08/28/80), 3.âOver And Overâ (St. Louis, 11/05/79), 4.âThatâs Enough For Meâ (Wembley, 06/21/80),
Side Three
1.âSaraâ (Tucson, 08/28/80), 2.âNot That Funnyâ (St. Louis, 11/05/79), 3.âTuskâ (St. Louis, 11/05/79), 4.âSave Me A Placeâ (St. Louis, 11/05/79)
Side Four
1.âLandslideâ (Omaha, 08/21/80), 2.âWhat Makes You Think Youâre The Oneâ (St. Louis, 11/05/79), 3.âAngelâ (St. Louis, 11/05/79), 4.âYou Make Loving Funâ (Wembley, 06/20/80)
Side Five
1.âIâm So Afraidâ (St. Louis, 11/05/79), 2.âWorld Turningâ (Wembley, 06/22/80)
Side Six
1.âGo Your Own Wayâ (Wembley, 06/22/80), 2.âSisters Of The Moonâ (Wembley, 06/22/80), 3.âSongbirdâ (Wembley, 06/27/80)
Writing a great song is tricky enough, but writing a standout duet is an even more difficult bit of business than that. After all, you have to make room for two contrasting perspectives without pulling the song apart at the seams in the process. And, since the majority of duets are inter-gender, you have to be able to write believably for the opposite sex.
Most people would agree that Tom Petty pulled off one of the great duets in rock history when he penned âStop Dragginâ My Heart Aroundâ and joined Stevie Nicks on the justly celebrated recording. The only problem with that story is that the song wasnât meant to be a duet at all.
As Petty recalled to author Paul Zollo in the book Conversations With Tom Petty, the Fleetwood Mac chanteuse was enamored with his music and wanted him to write a song for her. âStevie came to me around â78,â he said. âAnd she was this absolutely stoned-gone, huge fan. And it was her mission in life that I should write her a song. And we were a little wary of Stevie. We didnât quite know whether to like Stevie or not, because we kind of saw this big corporate rock band, Fleetwood Mac, which was wrong, they were actually artistic people. But in those days, nobody trusted that sort of thing and we just kept thinking, âWhat does she want from us?ââ
Nicks was persistent and Petty eventually attempted a song for Nicks to be included on her first solo album. He wrote a ballad called âInsider,â but when the two sang it together, Petty liked it so much he decided to keep it for himself. He included it on The Heartbreakersâ 1981 album Hard Promises, even using a line from the song to give the album its name.
At the time that this was occurring, Jimmy Iovine, who was Pettyâs producer and also was lined up to produce Nicksâ album Bella Donna, asked Tom about another song from the Hard Promises sessions with lyrics by Petty and music by Heartbreaker guitarist Mike Campbell. The Heartbreakers (with Donald âDuckâ Dunn filling in for the bandâs usual bassist Ron Blair) had finished âStop Dragginâ My Heart Around,â right down to Pettyâs lead vocal, but Iovine persuaded him to give this track to Nicks after he had taken âInsiderâ back.
As a result, what you hear in the recording that became a #3 Billboard hit in 1981 is Nicks singing on top of the Heartbreakers recording. In the verses, Pettyâs vocals, with the exception of a couple lines, were wiped away to make room for Nicks. To keep up the appearance of a duet, Nicks sang with Pettyâs vocal in the refrain, actually taking the high harmony part since Petty already had the main vocal line covered.
The funny thing is that the song works better as a duet. Itâs got a typically sturdy Heartbreakers foundation, featuring Campbellâs moaning guitar and Benmont Tenchâs creeping keyboard. Nicks is right at home in this bluesy backdrop, imbuing Pettyâs conversational lyrics with oodles of fiery attitude and a tinge of genuine hurt. âThis doesnât have to be the big get even,â she warns the guy who comes âknocking on my front doorâ with the âsame old line.â âIt doesnât have to be anything at all.â
Having Nicks take the lead puts an interesting spin on the cautionary lines from the final verses (âMake a meal of some bright-eyed kid/ You need someone looking after you.â) Normally this would be the thing that the older guy would say to the young girl, maybe even in condescending fashion. Since itâs the woman making that statement, it levels the playing field. The guy is reduced to telling her that heâs onto the fact that, though she might be protesting at the moment, sheâs the one whoâs making the decision to leave: âI know you really want to tell me goodbye/ I know you really want to be your own girl.â
Pettyâs lyrics are stinging and evocative in the run up to the refrain: âBaby you could never look me in the eye/ Yeah you buckle with the weight of the words.â The play on the phrase âweight of the worldâ is telling, because thatâs the kind of pressure this fading relationship seems to be exerting on the principals. It all leads up to the titleâs desperate plea for mercy, Petty and Nicks both going to the top of their registers to highlight the urgency, âStop dragginâ my/ Stop dragginâ my/ Stop dragginâ my heart around.â
There are so many tantalizing hypothetical scenarios here. Would Pettyâs solo vocal take have become quite as big a hit? Would Nicks have taken the intensely personal âInsiderâ and made it universal as well? As always, fate has the final answer. And the answer is that, to reach its full potential, âStop Draggin My Heart Aroundâ simply needed two to tango.
Fleetwood Mac are one of the only bands whose rarities and outtakes are good enough to make us wish theyâd included them on each albums, This rare demo version of âGypsyâ is absolutely beautiful; instead of a full band behind Stevie Nicks, sheâs accompanied by only an electric keyboard playing softly in the background, giving âGypsyâ an ethereal, almost dreamlike feel to it.
There are two points of inspiration behind âGypsyâ, as stated by Stevie Nicks. The first of which is a point of nostalgia for Nicks: her life before Fleetwood Mac, and the second being a tribute to someoneâs passing.
Stevie Nicks wrote this as a tribute to her friend Robin who at the time wa dying from leukemia.
This demo of âGypsyâ is one that very well could have stood on its own as a track on the album, or even as a B-side. Especially knowing that itâs about a dear friend of Stevieâs, the ethereal factor would have definitely worked as opposed to something a little more upbeat. In any event, âGypsyâ still remains one of our favorite Fleetwood Mac songs, in any of its forms!
Stevie Nicks wrote the song originally around. 1979, and the earliest demo recordings were recorded in early 1980 with Tom Moncrieff for possible inclusion on her solo debut “Bella Donna”.  However, when Nicks’ friend Robin Anderson died of  leukemia, the song took on a new significance and Nicks held it over for Fleetwood Mac. “Gypsy” was the second single release and second biggest hit from the “Mirage” album,
The video for this song was the highest-budget music video ever produced at the time. It used several locations including a highly detailed portrayal of a forest, and required many costumes and dancers.
Stevie Nicks especially remembers the experience as unpleasant. Two weeks beforehand, she had gone into rehab to attempt to end her cocaine addiction. However, the video shoot could not be rescheduled, and she had to take a break for it. Near the end of the first of three days, she was exhausted and said she wanted some cocaine. A small bottle that was discreetly brought to her was later thrown out before she could use any.
Those issues were further strained by having to work closely with former boyfriend, Lindsay Buckingham. “We weren’t getting along well then. I didn’t want to be anywhere near him; I certainly didn’t want to be in his arms,” she says of the scene where the two are dancing. “If you watch the video, you’ll see I wasn’t happy. And he wasn’t a very good dancer.
On March 25, 2009 during a show in Montreal on Fleetwood Mac’s Unleashed Tour, Stevie Nicks gave a short history of the inspiration behind Gypsy. She explained it was written sometime in 1978-79, when the band had become “very famous, very fast,” and it was a song that brought her back to an earlier time, to an apartment in San Francisco where she had taken the mattress off her bed and put it on the floor. To contextualize, she voiced the lyrics: “So I’m back, to the velvet underground. Back to the floor, that I love. To a room with some lace and paper flowers. Back to the gypsy that I was.” Those are the words: ‘So I’m back to the velvet underground’âwhich is a clothing store in downtown San Francisco, where Janis Joplin got her clothes, and Grace Slick from JeffersonAirplane. It was this little hole in the wall, amazing, beautiful stuffâ’back to the floor that I love, to a room with some lace and paper flowers, back to the gypsy that I was.'”
When the five members of Fleetwood Mac reconvened in the studio in 1978 to record the follow-up to their massively successful/decade-defining/inescapable disc Rumours, it would have been painfully easy to simply spit out Rumours II.
Instead, they took 13 months and spent a then-unprecedented $1 million-plus to birth Tusk, a double album of 20 songs spanning 72 minutes. The effort defied expectations, confounded some fans, sold âonlyâ 4 million units, and produced only two singles resembling hits: the tribal-sounding title track (recorded with the 112-piece University of Southern California Trojan Marching Band), and Stevie Nicksâ ethereal âSara.â
However, a funny thing happened with Tusk in the ensuing 35 years. Its standing among both Fleetwood Mac fans and musicians has skyrocketed, as has respect for the wildly diverse songs and experimentation. Now, Rhino/Warner Brothers has released Tusk: The Deluxe Edition. The 5-CD/2-LP/1-DVD set includes the original album remastered, a bevy of outtakes and alternate takes, and plenty of live material from the ensuing tour.
In the booklet of liner notes and rare photos, Jim Irvin celebrates the potpourri grab bag of music, spearheaded by Lindsey Buckinghamâs newfound infatuation with the sounds of punk and New Wave music, and a desire to not repeat the same old formula. He would even adopt an entirely new look for the photos shoots and tour of closely cropped hair, suits, andâŚuhâŚheavy makeup. âListening to Tusk is like walking around a ridiculously eclectic art gallery curated by someone whoâs keeping their aesthetic a secret,â Irvin offers. âAnd old master next to an abstract, a kinetic sculpture next to a watercolour. It makes no sense at first.â
Though, contrary to the established Rock History Narrative of him fighting for the change alone, both Nicks and Mick Fleetwood and not just Buckingham were also eager to shake things up, according to their own comments today.
And what of the effect as a whole? Buckingham certainly brings an un-Mac-like tension, nervous energy, and biting sarcasm to efforts like the deranged square-dance sound of âThe Ledge,â the punkish âWhat Makes YouThink Youâre the One,â the biting âNot That Funny,â and the ârockabilly on acidâ of âThatâs Enough For Me.â
Stevie Nicks, always given something of a short shrift in terms of songwriting since she doesnât play an instrument (not counting the tambourine), offers some of her finest work in the longing âStorms,â an upbeat âAngel,â elegiac âBeautiful Child,â and mysterious âSisters of the Moon,â which surprisingly resurfaced on the set list for the Macâs recent reunion tours.
Only Christine McVieâs contributions seem slight and listless â both lyrically and musically â save for some soft-and-gentle work on her usual romantic balladry in âOver and Overâ and âBrown Eyes.â
Tusk’s recording period saw Christineâs involvement with both Grant Curry (the bandâs lighting director) and Beach Boy Dennis Wilson, while Lindsay Buckingham fell into an intense involvement with record-company exec/former model Carol Ann Harris (who later wrote a not-that-flattering book about the relationship, Storms).
The shocker, fans later found out, was the news of Nicks and Fleetwoodâs brief-but-intense involvement. It led to Fleetwoodâs divorce from Jenny BoydâŚwho had previously had an affair with previous lineup guitarist BobWestonâŚand was the sister of Rockâs Greatest Muse, Pattie Boyd, who sent both George Harrison and EricClapton into romantic bliss and yearning, poured out on vinyl.
And when Nicks and Fleetwoodâs involvement ended, Nicksâ best friend, Sara Recor (partial inspiration for the song), took up with Fleetwood without either bothering to tell Nicks about it, which crushed her .(are you following all of this?). this was usual for the Fleetwood Mac circus
Thus, Nicks admits today that a number of her songs are about Fleetwood, and itâs not hard to interpret many of hers and Buckinghamâs lyrics as continued musical snipes and judgments on their relationship.
Of the demos and alternate versions, thereâs some very interesting development chronicled in the songs âI Know IâmNot Wrongâ and âTuskâ as Buckingham â like he did with much of the material â tinkered with them in his own studio extensively before bringing them to the band. It was a way of songwriting that gave him more control, but which the band agreed to abandon after Tusk.
And on the live discs, listeners will find a band surprisingly willing to take risks with tempos and delivery onstage with material recorded in studio. And that includes tunes from their previous two records, Fleetwood Mac and Rumours.
So, while the hefty Deluxe Edition of Tusk may be for Fleetwood Mac Addicts only (and those with record players), less expensive options included a 3-CD Expanded Edition and a 1-CD Remastered effort.
In either case, for what attention and sometimes derision it received on release, Tusk is the one effort in the bandâs discography whose standing has improved with time. Oh, and the meaning the title? It was Mick Fleetwoodâs slang term for a penis. Youâre welcome for that.
As performed by Stevie Nicks on the Tonight Show with host Jimmy Fallon,Stevie Nicks is a Grammy Award-winning solo artist and frontwoman for Fleetwood Mac. The band’s 1977 album, “Rumours”, is considered one of music’s biggest selling albums and won the Grammy for Album of the Year. Nicks kicked off her solo career in 1981 with the album Bella Donna and has released seven more albums, including her most recent, 24 Karat Gold: Songs from the Vault, Stevie performed two songs on the show “Rhiannon” and “Lady” but the unexpected was the solo performance Stevie at the piano on her own most likely as she did when the song was originally written.
Stevie Nicks took advantage of a break in Fleetwood Macâs current tour to stop by âThe Tonight Show With Jimmy Fallon last night and perform a pair of songs, including one from her new solo LP “ Lady “, â24 Karat Gold: Songs From the Vault.â
You can watch that song, âLady,â above, She also performed an exclusive rendition of Nicksâ Fleetwood Mac classic âRhiannon,â which she performed at the piano. Released October 7th, â24 Karat Goldâ Nicks contiuned the streak of Top 10 solo records Nicks started with in 2001â˛s âTrouble in Shangri-La.â. âLady,â along with âThe Dealerâ and âStarshine,â was released as a single prior to â24 Karatâ arriving in stores.
As previously reported, Fleetwood Mac are back on the road with Christine McVie for the first time in years, and the bandâs run of well-received reunion gigs will continue for quite awhile â they recently added another leg of dates, extending the tour into 2015. The band is also at work on a new album, its first since 2003â˛s âSay You Willâ â and the first studio LP to employ the groupâs classic âRumoursâ-era lineup since 1987â˛s âTango in the Night.â check out Stevie’s tour story as well
STEVIE NICKS singer songwriter and vocalist with Fleetwood Mac currently touring the States, has a new solo album due out titled “24 Karat Gold” featuring old and new songs throughout her career.
A further glimpse of the new album to be released from Stevie Nicks “24 Karat Gold” Â a collection of songs mostly originally demos recorded by Stevie for her solo albums and for the collective of Fleetwood Mac.
The Fat Angel Sings 