New interview

[DWIG]

Stevie is featured in a 6 page new interview in Mojo magazine (UK). Mainly the same old stories, but it does feature some nice pics and mentions the up and coming release in Europe of Crystal Visions. Good to see Stevie getting some promo over here. Hopefully it'll lead to a few UK shows.

Cheers

Dave

[Steviefan49]

Stevie is featured in a 6 page new interview in Mojo magazine (UK). Mainly the same old stories, but it does feature some nice pics and mentions the up and coming release in Europe of Crystal Visions. Good to see Stevie getting some promo over here. Hopefully it'll lead to a few UK shows.

Cheers

Dave

:) Cool!! Anyone know if she's going to do a UK leg of her tour anytime soon?

[JazmenFlowers]

Stevie is featured in a 6 page new interview in Mojo magazine (UK). Mainly the same old stories, but it does feature some nice pics and mentions the up and coming release in Europe of Crystal Visions. Good to see Stevie getting some promo over here. Hopefully it'll lead to a few UK shows.

Cheers

Dave
any way you can scan in the pages?

are the pictures new or oldies?

[danax6]

Stevie is featured in a 6 page new interview in Mojo magazine (UK). Mainly the same old stories, but it does feature some nice pics and mentions the up and coming release in Europe of Crystal Visions. Good to see Stevie getting some promo over here. Hopefully it'll lead to a few UK shows.

Cheers

DaveBut Crystal Visions was released here a few weeks ago already.

[DWIG]

It says in the article that the release date will be Sept 24th. I think this is the official release date in the UK.

Have scanned the article, but can't seem to get it to attach

??????

[JazmenFlowers]

It says in the article that the release date will be Sept 24th. I think this is the official release date in the UK.

Have scanned the article, but can't seem to get it to attach

??????
what format is it in?

[Sahara]

Very excited to hear she's doing some promo stuff over here.
Come on, Stevie! Get over here!

[BlackWidow]

Try to post it!!

[Glittermoondust]

Who is on the cover of the magazine so I can look for it... issue number/month??

[MacMan]

Here's the cover - it's September:

[trackaghost]

http://img.photobucket.com/albums/v117/trackaghost/mojomag1.jpg

http://img.photobucket.com/albums/v117/trackaghost/mojomag2.jpg

http://img.photobucket.com/albums/v117/trackaghost/mojomag3.jpg

http://img.photobucket.com/albums/v117/trackaghost/mojomag4.jpg

http://img.photobucket.com/albums/v117/trackaghost/mojomag5.jpg

http://img.photobucket.com/albums/v117/trackaghost/mojomag6.jpg

[Steviefan49]

This is awesome!! Thanks for scanning this!!

[KristinG]

Thanks so much for the scan!!

[strandinthewind]

Thanks for the scan!!!!!

Not too much new stuff, but cool to hear her stories again anyway. I also love how she confirms (again?) the NZ story and then goes on about how she and LB have had things happen onstage since then, which IMO confirms some of the tension I felt during the SYW tour.

Also, I just love how she is still utterly loyal to CM and speaks of her with genuine respect, which I think is real.

[Tango]

Thank you for the news and for the scans. I agree with you Strand.

[BlackWidow]

What about her "Lindsey didn't really go for a solo career like I did and he should have. that's why he was upset with me" line???

[strandinthewind]

What about her "Lindsey didn't really go for a solo career like I did and he should have. that's why he was upset with me" line???

I think she refers to LB always feeling as if FM was roping him back in as they did on TITN and The Dance - both of which were times he was doing a solo record. I think LB just takes/took too long, esp. then. La Nicks seemingly was able to whip out her solo stuff in a few months, whereas it takes LB a year a song :laugh:

In the end, I think La Nicks' seemingly and comparative off the cuff effort pissed LB off to no end. I think that feeling is unwarranted because La Nicks did work hard on her solo stuff. She just had more people around her she was willing to listen to and let help her. Also, La Nicks made a success of herself without LB, which I am sure angered him as well.

[Serrart]

What about her "Lindsey didn't really go for a solo career like I did and he should have. that's why he was upset with me" line???

Pure truth?

Thanks for the interview, it's very nicely written and the photos are great.:thumbsup:

Romy

[RockALittle250]

I think she refers to LB always feeling as if FM was roping him back in as they did on TITN and The Dance - both of which were times he was doing a solo record. I think LB just takes/took too long, esp. then. La Nicks seemingly was able to whip out her solo stuff in a few months, whereas it takes LB a year a song :laugh:

Yes...literally for the UTS album :lol:

[Phoenix]

I think she refers to LB always feeling as if FM was roping him back in as they did on TITN and The Dance - both of which were times he was doing a solo record. I think LB just takes/took too long, esp. then. La Nicks seemingly was able to whip out her solo stuff in a few months, whereas it takes LB a year a song :laugh:

In the end, I think La Nicks' seemingly and comparative off the cuff effort pissed LB off to no end. I think that feeling is unwarranted because La Nicks did work hard on her solo stuff. She just had more people around her she was willing to listen to and let help her. Also, La Nicks made a success of herself without LB, which I am sure angered him as well.

:nod: :nod: :nod:
the key words there are "willing to listen, and let help".

[BlackWidow]

I think she refers to LB always feeling as if FM was roping him back in as they did on TITN and The Dance - both of which were times he was doing a solo record. I think LB just takes/took too long, esp. then. La Nicks seemingly was able to whip out her solo stuff in a few months, whereas it takes LB a year a song :laugh:

In the end, I think La Nicks' seemingly and comparative off the cuff effort pissed LB off to no end. I think that feeling is unwarranted because La Nicks did work hard on her solo stuff. She just had more people around her she was willing to listen to and let help her. Also, La Nicks made a success of herself without LB, which I am sure angered him as well.

I would agree.

[strandinthewind]

I would agree.

And - I have always said you can't rope the willing. In 1987, LB had a comparatively very minor solo career, and Out of the Cradle, while great, failed commercially. So, I think he saw TITN and The Dance as vehicles to put him back in the light, and they did, The Dance more so because he toured. Then SYW comes around and he does it IMO for the same reasons. Nowadays, I think he might do it again, but I doubt at his age he is willing to do so. But, you never know.

I also think it must have been torture for any male ego, much less his, to have a musically inferior person, much less one's beautiful and highly coveted ex, totally eclipse you in the limelight.

[David]

In this article, Sylvie Simmons appears to fill out new interview material with material she wrote for the very old "Confronting the Gates of Elmo" article on Stevie. It's kind of like what Stephen Davis did in Mick's book, only Sylvie is "borrowing" from herself (& Creem magazine).

[David]

I also love how she confirms (again?) the NZ storyShe confirms (with a slight twist) only her own NZ story. Everybody in that band has a different NZ story, & nobody in that band had a NZ story until Mick created it for his 1990 book. Man ... Rashomon City over there.

[shackin'up]

if this is a recent interview, why didn't she say something about the fact that LB is trying to make up for lost time and actualy is working on a late-in-life solocareer without wanting to be big? He still corrupts a FM-gettogether as long as he works on his solostuff, probably untill far into 2008. Why doesn't she talk about the fact that -supposedly- SHE doesn't want to come back together in the SYW-line-up? Why doesn't she say anything on writing songs for future projects?

Why all this historygossiptalk and NOTHING new accept her good causes? How many people on earth according to her in interviews were going to KILL LB or wanted it or were going to do that?

sigh. she's getting old.

BTW: Thanks for all the work, sharon. You rock! (as usual)

[danax6]

I also love how she confirms (again?) the NZ story .Sigh.

She confirms (with a slight twist) only her own NZ story. Everybody in that band has a different NZ story, & nobody in that band had a NZ story until Mick created it for his 1990 book. Man ... Rashomon City over there.Thank you. And hey, at least we got something new this time around: She ticked Lindsey off by singing through his solo. I'll add it to my NZKICKINGINCIDENT folder. :rolleyes:

Thanks a million for posting, Sharona. Nothing really new, but I have to admit that I both snorted and laughed when she talked about her being able to forgive coke dealers because they needed money for food (come on), but can't forgive that shrink because he only kept her coming in to hear the Hollywood gossip. What the heck was she telling this guy? :laugh:

[danax6]

How many people on earth according to her in interviews were going to KILL LB or wanted it or were going to do that?
That was my favorite part. Lindsey has a world of enemies. Or the entire world favors Stevie over Lindsey. Pick one. :p

Oh and hey, Stevie? Marie Antoinette sucked.

[BlackWidow]

Sigh.

Thank you. And hey, at least we got something new this time around: She ticked Lindsey off by singing through his solo. I'll add it to my NZKICKINGINCIDENT folder. :rolleyes:

Thanks a million for posting, Sharona. Nothing really new, but I have to admit that I both snorted and laughed when she talked about her being able to forgive coke dealers because they needed money for food (come on), but can't forgive that shrink because he only kept her coming in to hear the Hollywood gossip. What the heck was she telling this guy? :laugh:

Oh, I know..what a bag o' bullshit!
He probably asked her about the band once...:laugh:

[trackaghost]

Just so you all know, I just made the scans a bit bigger for easier reading.

And Vanessa I found all the drug dealer stuff hilarious too. She must be the best gossip in the world if that doctor was determined to keep her on drugs for it!

[BlackWidow]

Just so you all know, I just made the scans a bit bigger for easier reading.

And Vanessa I found all the drug dealer stuff hilarious too. She must be the best gossip in the world if that doctor was determined to keep her on drugs for it!

:laugh: :laugh: :laugh: :laugh:

Well..Stevie is "The Insider!"

[SpyNote]

For the visually impaired, like myself, here's the transcription: :cool:

California Dreaming
By Sylvie Simmons
Mojo (UK)
September 2007

Living in “heavy obscurity,” Stevie Nicks was a just a humble waitress with a failed debut album to her name. Then she joined Fleetwood Mac. Cue instant superstardom and its attendant lifetime of sex, drug and suspended reality. But what of her biggest regrets? “Curse the day I did cocaine!” She tells Sylvie Simmons…

The living room is dimly lit, cosy. At one end of the floor, propped against a wall, are some paintings—works-in-progress—that could pass as illustrations for children’s books. At the other end is an open fireplace with logs blazing, the California sunset having given way to a chilly ocean breeze. Two tiny dogs, neither much bigger than a hairball, one of them clad in a little pink overcoat, skitter between the stiletto-booted feet of a small woman dressed in a floaty chiffon top and tight black pants, her loose blond hair hanging down to her waist. The expression on her face is unguarded and, as always, a little bit stunned. She looks less like a major rock star who’s one year off turning 60 than someone who just fell out of a little girl’s drawing and hadn’t quite got her bearings yet. She looks, in fact, inarguably and utterly Stevie Nicks-ian.

In 1985, when Nicks was in the Betty Ford Clinic being treated for addiction to cocaine, she was set some homework: to write an essay on the difference between being Stevie Nicks real-life human, and “Stevie Nicks” rock icon. She says it was the hardest thing she’s ever had to do. It prompts a story about going to her fortieth high school reunion last month. One of the group of girls she used to hang with in her teens told her, “You know what? You haven’t changed a bit. You are still our little Stevie girl.” She cried on the way home. “It was the nicest thing anybody had said to me,” she smiles. “That I’m still the same. Because I’ve tried very hard to stay who I was before I joined Fleetwood Mac and not become a very arrogant and obnoxious, conceited bitchy chick, which may do. I think I’ve been really successful.”

She says all of this guilelessly. For someone who’s served nearly 40 years in the crazy world of rock, more than 30 as a major star and indulging in her fair share of the sex and drugs, it’s innocence more than experience that comes across. As her close friend Tom Petty (with whom she completed a five-month US tour as unpaid guest singer in 2006) said of her, affectionately, “It’s like when you’ve got a sister in the family that nobody want to talk about much.” Meaning someone you love but who’s, well, different. “Stevie,” he added, “does not live in the real world.”

She scoffs, “Tom lives in the same world that I do. Because both of us became huge successes very young, we made lots of money, and that changes your life immediately—and those thing change for you, you don’t even try to change them. They take you out of the real world, but they don’t need to change who you are.”

But who exactly is she? Besides being one of the most successful women in rock, juggling two careers—solo and with Fleetwood Mac—for more than three decades, she is also one of the most mythologised. Having made MOJO and herself steaming mugs of Earl Grey tea, Stevie Nicks settles in an armchair by the fire as we prepare to find out.

Stevie Nicks has kept a diary every day since she joined Fleetwood Mac—New Year’s Eve 1974. The rest has been committed to memory; like her performances at age four with her grandfather, A.J. Nicks, an eccentric would-be-country musician who lived in a trailer in the desert. He bought Stevie “a little cowgirl outfit with guns and boots and vest” and took her on-stage with him in Arizona bars. Her parents finally put a stop to it, but “it didn’t stop me singing. I sang all the time—to the radio, to anybody, until we moved to San Francisco and I did my own music.”

The timing was perfect. It was the mid-‘60s; Stevie was in her mid-teens. She was writing songs (her first: I’ve Love And I’ve Lost And I’m Sad But Not Blue) and singing with her girlfriends in Mamas & Papas-type harmony bands. Lindsey Buckingham went to the same high school, and the pair met when she saw him singing California Dreamin’ at a social evening and joined in, uninvited, on harmony. Almost two years later he formed a band, Fritz, remembered her and asked her to join. So by day she studied speech communication at college, by night she sang with Fritz.

The group was no great success. At the urging of producer Keith Olsen, they disbanded and Nicks and Buckingham moved to Los Angeles. Lindsey stayed home and wrote, while Stevie paid the bills working at Burger King, waitressing at restaurants, even cleaning Olsen’s house. The producer helped broker a deal with Polydor, who released their debut, Buckingham Nicks, in 1973. A mellow slice of well-produced California rock, nevertheless it flopped.

Meanwhile, Mick Fleetwood, who’d moved his band to L.A., was shopping for a studio and producer. He met Olsen, who played him Buckingham Nicks as a demonstration of his sound and got the job. Fleetwood was also looking for a guitar player—a regular occurrence, what with the band’s habit of losing them, often in unfortunate circumstances (Bob Welch left citing exhaustion; Danny Kirwan was fired for refusing to go on stage and was later admitted to psychiatric hospital; Peter Green and Jeremy Spencer both left as a result of drug-related trauma and alter joined religious cults). The offer of a job was extended to Buckingham, who agreed, if Stevie could come too.

“I know for a fact I was simply being hired as extra baggage,” says Nicks, today, “that they only wanted Lindsey and couldn’t get him without me. They already had a girl singer [Christine McVie], they didn’t need another one who didn’t really play anything. They’re not going to say, “You stand ou there and be the star and we’ll just play.” But I so wanted to be part of it, I thought I could be their secretary or something, anything, and they understood I felt this way and never made me feel unwanted.”

Quite what McVie made of Stevie in the beginning hardly bears thinking about. Five years older than Nicks, Christine Perfect, as she was before marrying Fleetwood Mac bassist John McVie, had a distinguished musical pedigree; classically trained, lead singer and keyboard player on Chicken Shack’s sole Top 10 hit, I’d Rather Go Blind, she’d topped Melody Maker’s Best Female Vocalist poll in 1969, the year before she joined her new husband in Fleetwood Mac.

Stevie nods, “I’m sure there were times when I’m flying around the stage in my gossamer chiffon where she had to think to herself, Wow, what’s this? Fairy school? But never once did she make me feel like that, never one comment to the effect of, ‘I could really have done without you.’ Because she knew from the beginning that I was real sensitive and that anything she’d say to me would cut like a knife.”

Nicks herself had “no hesitations” about giving up Buckingham-Nicks for Mac. “They were an established band and our album had flopped, we were bankrupt. And when I met them they were very dry and English and I loved them straight away. They didn’t audition us or anything, it was like ‘Right, rehearsal starts in four days.’ Then we started getting paid: $200 a week apiece for four weeks when we were rehearsing, and $400 a week apiece when we actually started recording. Basically, I’d been scraping together to make $300 a month waitressing to pay our rent, our food and our car, and all of a sudden we were making almost $4,000 a month overnight. I was washing hundred dollar bills and hanging them up with clothes pins! As a member of Fleetwood Mac for two weeks, I was still working at the restaurant because I’d given them notice. I didn’t just want to walk in there and say, ‘I’m going to be a famous rock star so I quit and I never liked your food anyway.’ It makes you feel bad later, and I like tying up loose ends. So Fleetwood Mac plucked us straight out of heavy obscurity. It was hysterical how fast it all happened.”

Fleetwood Mac, released in spring 1975, featured three songs Nicks had written, including the hit single Rhiannon, originally planned for the non-existent Buckingham Nicks II. The new line-up’s first album together sold five million copies. It was quite a turnaround, not just for Nicks and Buckingham, but for the band too. Months earlier, Mac had been battling in court to keep their name—their manager had put a bogus Mac on the road after Mick Fleetwood pulled out of a tour, having learned that their guitarist Bob Weston, was having an affair with his wife. Now here they were with their first US Number 1.

They were heady days as Nicks describes them—the excitement of going into the studio, the speed with which they made the album, how thrilled everyone was at how it came out. Lindsey was happy, their relationship was going great. “But by the time we came off the road, which was probably three or four months after the record came out, our relationship was not doing that well.” And by the time they started the follow-up, Rumours, John and Christine McVie were in the same boat. “It wasn’t another woman or another man, it was just the situation. The whole hugeness of it all had really hit everybody very hard. And the biggest thing is Chris and I got a lot attention, because we were the girls, and the boys didn’t like that. They didn’t like it then; they don’t like it now.”

Fleetwood Mac’s “Soap Opera” years, in which the members’ love lives came under constant public scrutiny, would overlap with the “Marie Antoinette” years of excess. Says Stevie, “I went to see that film the other night and it reminded me a lot of myself and the people surrounding me when we first started with Fleetwood Mac. The clothes and the champagne and how young they all were—and it really touched me. Because we were young too and there was a tragedy for all of us also, just in what it did to all of our lives and taking them out of ‘the real world’, as Tom Petty would say.”

Dogged by tension and extravagance and distracted by sex and drugs, Rumours took the best part of a year to record. But the lyrics aside—Christine McVie would later comment that everyone was writing about each other—the cracks didn’t show on the record’s supple ensemble playing and smooth harmonies. This was classic California pop—the band’s British blues element as good as one—featuring songs like Christine’s catchy Don’t Stop and You Make Loving Fun alongside Stevie’s darker cocaine song Gold Dust Woman and the wistful Dreams. Rumours hit Number 1 on both sides of the Atlantic, becoming one of the biggest-selling rock albums of all time. And the band, of coruse, went back on the road, with the new ???? of various members variously hating various other members’ guts. So how did someone of Stevie’s famed sensitivity manage?

Mostly because I, like everybody who was in Fleetwood Mac, loved Fleetwood Mac the entity, and nobody wanted to leave. People would be, ‘You leave, I’m not leaving.” Lindsey didn’t want to quit, I didn’t, John didn’t, Chris didn’t and Mick certainly didn’t; he just sat back and watched it. So you went up on-stage and tried to keep your problems off that stage and then went back to separate dressing rooms and hotels and didn’t go to the bar after the show, because you didn’t even want to take a chance of having a run-in in front of people. So we stayed very cloistered, especially Chris and I, because the boys could go out but Chris and I couldn’t, so we hung out together, drank tea and watched movies and stayed away from the rest of the guys.”

It didn’t always work. On-stage in New Zealand once, Buckingham got mad at Nicks… “I think I aws singing through one of his solos or something, and he walked across the stage and kicked me and then went back to his microphone and we just sort of went on with the show. Me being pretty much the ultimate professional, I’m like, OK that didn’t just happen, it was just a joke everybody. Then he threw his guitar at me, wwwosh! I saw it coming and ducked. And he would have killed me if it had hit me; a Les Paul weighs about 30lbs. When the song was over he raced of the stage but Chris was so mad she was at the dressing room two seconds after he got there. And she grabbed him—then the bodyguards came in and dragged us all apart.”

But the show, as they say, had to go on. “Let’s just say he was told by everybody, from tour manager to everybody involved, if you ever throw anything at her or kick her again, the crew will attack you and kill you, so you’d better think about it. It never happened again.” She pauses a moment. The wind is whipping up now; through the large window you can see it bullying the trees hung with fairly lights in her garden. She continues, “But Lindsey and I have had many thing happen on-stage that’s not a long time ago. We have a very hard time with each other, and he has a very hard time with me because he didn’t go after a solo career and I did. He should have and he didn’t and it’s not my fault. But he blames me.”

The idea for Nicks’ solo career was cemented during talks with Eagles manager Irving Azoff while Mac were recording Tusk, reputedly the most expensive rock album ever made. There was plenty of time to set up a label for her records, Modern, during the 13 months Tusk took to make. “That’s a long time to go into one room every day, six days a week, but it happened. And it happened because everybody was so busy doing drugs that nobody was organized, and you do things that you would think were just marvelous and the next day you’d come back in and it wasn’t, so you’d have to do it again.”

Bella Donna, her 1981 solo debut, with its mix of earthy and ethereal (the sexiness of Edge of 17) and After The Glitter Fades; the chiffon delicacy of How Still My Love and After the Rain) was in contrast “very quick, because we rehearsed for months and really knew our stuff when we went into the studio.” “We” being Stevie and the two women who still sing with her, Sharon Celani and Lori Perry, with guest appearances by Tom Petty, Don Felder and members of the Heartbreakers and Bruce Springsteen’s E Street Band. “It only took three months. Then I did 12 shows, about a month and the last show at the Beverly Wilshire Theatre, which is on the DVD, you can kind of see in my face that it was over, and I didn’t really know if I would ever be able to come back to my solo career. I went scurrying back to Fleetwood Mac as fast as I could.” By her own reckoning, her solo career, chronicled on the forthcoming Crystal Visions CD/DVD retrospective, has actually helped Fleetwood Mac to stay together, her sabbaticals allowing the Mac to take a holiday and keep off the punishing album-tour-album treadmill while also providing her with a needed outlet.

“When you’re in a band with three writers and you do a record ever two or three years, and for somebody that writes as much as me that’s not very much.” And she does appear to write all the time—if not songs then poetry, short stories, fairytales, her diary. She refers to that as her “sanity life,” of which, frankly, there didn’t seem a lot in period that led to her going into rehab in 1985: an affair with Mick Fleetwood; a short-lived marriage to Kim Anderson, the widower of her best friend, Robin Anderson, who had died of leukaemia; a coke habit that “ate away my nose. I curse the day I ever did cocaine.”

She says she was the first in the band to go to the Betty Ford Clinic, and possibly one of the first L.A. rock stars. “I don’t know many other people that went because Betty Ford is not Malibu Promises. It’s boot-camp. I adore Betty Ford, the lady, because she saved my life, but her facility is very tough. They couldn’t give a shit that you are a rock star. In 28 days I gave up a 10-year coke habit and I could feel myself just coming back to myself. I also felt, I will never have to come back to rehab for cocaine.

Mention that she later spent 47 days in hospital to treat an eight-year addiction to prescription tranquillisers, and it’s the only time MOJO sees her bristle. After Betty Ford’s everyone encouraged her to join Narc Anon or at least see a doctor. When she finally gave in, the man she chose turned out, she claims, to be a “rock star groupie”. “I can forgive all the miserable cocaine dealers because they were completely screwed up and trying to get enough money to buy food, but this guy was rick and had no reason except that he wanted to keep me coming to his office a couple of times and tell him about what was going on in Hollywood. And I’m lucky to be sitting here today. I could have OD’ed on anything, being that bleary. I could have been Anna Nicole Smith! I don’t hate anyone, but I hate him.”

Hate is not a word that surfaces very often during a conversation with Nicks. She admits the simmering tension that exists between Buckingham and herself, but there appear to be no hard feelings towards ex-lover Mick Fleetwood. An argument over her decision to use her song Silver Springs on her 191 solo retrospective Timespace, and not, as he wanted, on Fleetwood Mac retrospective The Chain, blew over…but then, both were massive sellers. In fact, Stevie’s initial Best Of featured a new song, Desert Angel, dedicated to the American military serving in Operation Desert Storm, which resulted in another turning point in her life.

In 2004, a Washington DC Army hospital approached her to ask if she’d be willing to make personal visits to the bedsides of young veterans injured in the war on Iraq. Stevie’s eyes light up when she talks about it. She’s set up a fund, she says, and planned her whole solo tour around being able to go back as often as she can. Wasn’t she nervous about getting so closely involved—after all, didn’t she once attract a stalker who was convinced she could cure him of homosexuality with mystical spells? She looks puzzled. “I’ve never heard that one. But you know people keep the really weird stuff away from me, so a lot of that stuff I don’t really hear.”

Yet she seems aware enough, in general, of the myths that surround her, of people’s fantasies of who “Stevie Nicks” is. If in the past she might have played into those fantasies of the ethereal Californian pop enchantress, you sense there are limits now. She declares, for instance, that she “won’t have a face lift”. “The idea of looking like a caricature of myself is horrible,” she winces. “I feel that if you stay animated from within, that people don’t see the age, so I try to forget about it. I deal with it by just being me.” And she has been used to being “me” for quite some time, her short-lived marriage aside, she says she “never had children I didn’t want to compromise my art.”

As a parting shot, she also admits to being happy as a workaholic. “I do have this crazy world where I pretty much continually work all the time,” she smiles. “I can break real easily if I don’t get back a little bit of the love that I try to put out but I’m happiest when I’m working. The other stuff I try to laugh about. Sometimes I’ll wake up and I’ll go, So what is going on in the fabulous life of Stevie Nicks today? And when I do find myself getting tired or complaining, I get really mad at myself and say, You have no right to complain, Stevie. You’re a lucky, lucky girl.”


[B]SIDEBAR
A Tonic for the Troops

In 2004, a US military hospital invited Stevie Nicks to visit its woulded young soldiers. She’s been going ever since. Here she explains why.

“We were playing Washington DC and my manager said Walter Reed Army Medical had asked if I would like to visit. What could I say? I was there from two in the afternoon until almost one o’clock that night. Basically you go in—and believe me, I never thought that this would be anything I would ever do—and you put on a gown and gloves and they say, Well this guy’s name is John Jones and he was injured in a blast and lost both legs. He’s had bad day, but he’s very excited to see you. You go in and I just say, My name’s Stevie Nicks, what happened? Because they would like to talk about it. I don’t sing to them, just talk. And then the USO comes in and takes a Polaroid and then it’s on to the next room and, This girl, Amanda, who was in a blast and lost one leg and a hand, and you just suck it all up and sit and talk to Amanda for 15 minutes. You don’t even have time for a cup of coffee, you just keep going—and when I walked out of that hospital after having seen about 40 guys and girls who’ve lost arms and legs, I was so completely blown away by it all and by how these kids’ lives would never be the same.”

“So I said, I’m going to have to do something about this. I have to do something for them. I thought, maybe I can buy gym equipment for their physical therapy, and then I had an idea. I could take them music. I could give them iPods and fill them up with songs from all different artists and I can take them music. So I called everybody I knew and said I’m starting a foundation and I’m going back in two months, and that’s how my Stevie Nicks Solder’s Angel Foundation started.”

“I’m very, very dedicated to this. I’m not a mother, but I feel incredibly motherly to all these kids—they are so young, 18, 20, 22, and a lot of them are there for anywhere between a year and 18 months—and they love the music. I sign everything—the iPods, the box they come in, the T-shirts we take them. A lot of my girlfriends have started doing this with me and we have bags of popcorn and a movie, so it’s fun. They’ve just built a place in San Antonio, Texas, specifically for amputees and burn victims, and so I’m going there—in fact I’ve planned my whole tour around it so I can hub out of San Antonio and go there and figure what they need.”

“I’m so happy that that one time they invited me to go I actually went, because I feel like it’s probably the best thing I’ve ever done.”

[AliceLover]

Sigh.

Thank you. And hey, at least we got something new this time around: She ticked Lindsey off by singing through his solo. I'll add it to my NZKICKINGINCIDENT folder. :rolleyes:

Thanks a million for posting, Sharona. Nothing really new, but I have to admit that I both snorted and laughed when she talked about her being able to forgive coke dealers because they needed money for food (come on), but can't forgive that shrink because he only kept her coming in to hear the Hollywood gossip. What the heck was she telling this guy? :laugh:

I know...I thought she was singing Rhiannon the last time I heard this story.

[Serrart]

Oh and hey, Stevie? Marie Antoinette sucked.

It didn't, and Stevie caught quite well the sense of it. It was an imperfect movie but the young Coppola confirmed her deep visionary talent. The film has also some of the best costumes I've seen in recent years.

Romy

[Serrart]

if this is a recent interview, why didn't she say something about the fact that LB is trying to make up for lost time and actualy is working on a late-in-life solocareer without wanting to be big?

Without wanting to be big? I'd say it's more an impossibility.

sigh. she's getting old.

Aren't we all?

Romy

[strandinthewind]

. . . And hey, at least we got something new this time around: She ticked Lindsey off by singing through his solo. I'll add it to my NZKICKINGINCIDENT folder. :rolleyes:

Actually, she said "I think I aws singing through one of his solos or something," which is consistent with what she and others have said before :shrug: If you have any contrary quotes from her or others, let's see them :wavey:

Nice try though :angel:

[strandinthewind]

Without wanting to be big? I'd say it's more an impossibility . . . .

Exactly, though LB is far to important an artist to care about money or hits, just ask that rental car company that he sold GYOW to :laugh:

[danax6]

Actually, she said "I think I aws singing through one of his solos or something," which is consistent with what she and others have said before :shrug: If you have any contrary quotes from her or others, let's see them :wavey:

Nice try though :angel:First time I heard it. I'll lovingly provide more quotes when I am not in bed ready to go to sleep. Hang in there, they're coming.

Exactly, though LB is far to important an artist to care about money or hits, just ask that rental car company that he sold GYOW to :laugh:Do you have this saved in a notepad file somewhere? You know, ready to be copy/pasted whenever someone brings up that Lindsey's not that commercially driven as the rest of his bandmates?

[strandinthewind]

First time I heard it. I'll lovingly provide more quotes when I am not in bed ready to go to sleep. Hang in there, they're coming.

I suggest devoting several hours to the search :cool:

But, here is a quote from :

We are delighted you make the effort to dress up. It was 1980 the last time you were in New Zealand. I guess you remember that.

The big Fleetwood Mac fight. It has become a thing of mythology that night. I remember it quite well because Lindsey and I got into a fight at the end of the show when I was singing during one of his solos and he threw his guitar at me. He didn't hit me because I ducked and it missed me. The song ended and we went off stage. It was the only time in our whole existence we did not do an encore.

It was as unprofessional as Fleetwood Mac have ever been. Needless to say he was not forgiven for 10 years. We felt bad because so many people were there and had been bussed in from all over New Zealand. And for something that stupid to happen, we were so angry with him.

http://www.nzherald.co.nz/

Do you have this saved in a notepad file somewhere? You know, ready to be copy/pasted whenever someone brings up that Lindsey's not that commercially driven as the rest of his bandmates?

Just calling a spade a spade :cool:

To be fair, I do think LB is more creative than any other member of the Rumors line up. I also agree he likes to push the envelope. But, those things are different than not being commercially driven, which he is matter what he or anyone else says. I would even go so far to say that La Nicks' ease at obtaining commercial success made him insanely jealous of her, though he would never admit that.

Edited to correct typo and to say LB is commerically driven no matter how brilliant an artist he is.

[BlackWidow]

I suggest devoting several hours to the search :cool:

But, here is a quote from :



http://www.nzherald.co.nz/



Just calling a spade a spade :cool:

To be fair, I do think LB is more creative than any other member of the Rumors line up. I also agree he likes to push the envelope. But, those things are different than not being commercially driven, which he is not matter what he or anyone else says. I would even go so far to say that La Nicks' ease at obtaining commercial success made him insanely jealous of her, though he would never admit that.

Fo Sho :wavey:

[danax6]

But, here is a quote from :

http://www.nzherald.co.nz/
Wow, and you know what's weird, I reread that article a few days ago because I added it to my little article database. Obviously I was on drugs when reading it. :confused: :thumbsup:

Saves me the trouble of posting the quotes with different versions of the incident.

[Kelly]

Wow, and you know what's weird, I reread that article a few days ago because I added it to my little article database. Obviously I was on drugs when reading it. :confused: :thumbsup:

Saves me the trouble of posting the quotes with different versions of the incident.



:lol:

I am too bored of the same old argument to take his bait this week. :p

I think I finally have it straight though...

LB is an ogre...Stevie is perfect.

LB is abusive, Stevie is loving, gentle and NEVER, EVER pushed his buttons. :rolleyes:

Lindsey is all about the money and Stevie writes, tours and sacrificed her entire life's happiness for the art.

Lindsey is terrifying and scares even small children but Stevie is as meak and mild as a church mouse. She never causes any problems in the band..........ever. Anything that does go wrong in FM is Lindsey's fault.


Stevie cannot even keep her own story straight about the Tusk incident, but some people, who were not even there, know exactly what happened. :rolleyes: (from a few contradictory, drugged up, thirty year old recollections) Mmkay.

[JazmenFlowers]

wow, what's this? fairy school?

[strandinthewind]

Wow, and you know what's weird, I reread that article a few days ago because I added it to my little article database. Obviously I was on drugs when reading it. :confused: :thumbsup:

Saves me the trouble of posting the quotes with different versions of the incident.

I have at least five "senior moments" a day now - so I know what you mean :D

On edit - I think the quotes are consistent :shrug: What is different about them?

[strandinthewind]

:lol:

I am too bored of the same old argument to take his bait this week. :p

I think I finally have it straight though...

LB is an ogre...Stevie is perfect.

LB is abusive, Stevie is loving, gentle and NEVER, EVER pushed his buttons. :rolleyes:

Lindsey is all about the money and Stevie writes, tours and sacrificed her entire life's happiness for the art.

Lindsey is terrifying and scares even small children but Stevie is as meak and mild as a church mouse. She never causes any problems in the band..........ever. Anything that does go wrong in FM is Lindsey's fault.


Stevie cannot even keep her own story straight about the Tusk incident, but some people, who were not even there, know exactly what happened. :rolleyes: (from a few contradictory, drugged up, thirty year old recollections) Mmkay.

Lord Child - no one is saying that and you know it :rolleyes:

I do think it is hysterical that you cannot fathom for one minute that the incident happened or that LB is in any way ever wrong. Moreover, please show me one quote where La Nicks or anyone of any merit around here has said anything like this?

[strandinthewind]

Fo Sho :wavey:

I edited my statment to say LB is commericially driven. The original statement had a typo.

Again, why would LB keep running back to FM if he were not?

Note - I do not disparage him for that. In fact, I think he was smart to do so as FM has kept him in the limelight since 1987, after all Big Love was a big hit for them and his production certainly put Everywhere, 7W, and Little Lies over the commercial success line. Sadly, that commercial success eluded him thereafter, save for his return to FM twice.

In the end, I just do not see the big deal with saying he likes commercial success and will return to FM to get it.

Finally, I hope his new rock record is a huge success. Odds are it will not be though and that sucks.

[Sugar]

Again, why would LB keep running back to FM if he were not?



Maybe he actually likes working with these people. Now, I don't have every FM quote committed to memory, but haven't these things always started with, "Well I needed some help on my album so I called Mick..." Then everyone ends up showing up and well...it's a FM album! I certainly don't know what happens, but it's not hard for me to imagine that Mick pushes the whole "let's make this an FM thing," due in no small part that it would mean some cash for him and John.

Since the Dance and in the DR doc, Lindsey seems positively giddy to work with the members of FM, including Stevie, but certainly with John and Mick as well. Certainly Linds has bills to pay and he wants financial success (as do we all), but if he was so driven by commercial success why in the hell would he EVER make a solo album?:laugh:

[strandinthewind]

^^^

Oh - I think he likes FM more than he will ever admit. I also think he likes working with La Nicks (and vice versa) way more than he ever will admit :laugh:

In the end, I view him as torn. He loves the limelight (perhaps more than the money) - but wants to have it shine as brightly on his in your face non-conformist stuff, like "Come." Yet, he cannot have it that way because that stuff just does not sell as well as say a "Big Love," which I submit was still edgy. I think he then goes to FM and wants to be way outside of the mainstream and CM and La Nicks are just not that, esp. CM, who is all about pop songs, and delicious ones at that.

As for why he ever made a solo record - I think it is because Stevie made one without him and it was a huge success, which had to hurt his ego. I also think that he really wanted to test leaving FM, a group he struggled to stay in IMO as set forth above. Yet, he, unlike Stevie, never reached that superstar status with his solo stuff. Unlike her, he still needed FM to stay in the limelight to any significant degree. Again, his music was great, but he just did not have, in the eyes of the public, star quality. He could not sell four million records on his own. That had to hurt.

[Sugar]

^^^ I'm not so sure about the vice-versa. :laugh: You don't hear Linds saying the same stuff about Stevie in interviews that she says about him. Not to belabor the point, but I think Lindsey's time away from the band gave him a chance to process and come to terms with Stevie-ness; I'm not certain that she ever gave herself the chance to do the same and that she finds herself falling back into hostilities that he has since dealt with and moved on.

Sure he's torn. He has his vision and wants to remain true to it, and who doesn't want their vision validated by wide-spread acceptance? And OBVIOUSLY he likes being on stage!

Generally speaking, I agree with your reasoning as to why he made Law & Order. Can you imagine the level of competition between those two in the early 80's? Had it been successful, it also would have validated his vision which he had already taken a lot of crap for after the "failure" of Tusk.

My point is that if he is so driven by commercial success, why in the hell would he have ever made another solo album (let alone 3) after the dismal commercial failure of L&O?

[strandinthewind]

I think L&O sold okay, but comparatively much weaker to anything FM or La Nicks sold.

I think he continued his solo carreer for the same reason - commercial success. He would love to have had a hit with the Go Insane material as well as his OOTC stuff. Same with the new stuff. It just did not happen. That is sad to me because the guy really is brilliant, even if his own stuff mostly is not for the masses and mostly by his own design.

But, I think his solo stuff was designed to be commercially viable, esp. the 80's stuff.

As for LB moving on - I am unsure. I hope he has - her too.

On edit - I like talking about this and my tone is jovial :cool:

[Sugar]

I think he continued his solo carreer for the same reason - commercial success. He would love to have had a hit with the Go Insane material as well as his OOTC stuff. Same with the new stuff. It just did not happen.

Yeah, but the solo albums weren't commercially successful, at least not compared to FM albums. Which says to me he was much more driven by artistic vision than by commercial sucess. Sure he would have loved to have had a hit with the solo stuff, and certainly he had hits with FM. If it was all about commercial sucess, he would have stuck with the tried and true formula of FM.


But, I think his solo stuff was designed to be commercially viable, esp. the 80's stuff.

Oh yeah. Play in the Rain, I Must Go, DWSuite...truly the stuff of the masses. ;)

PS I'm guessing you meant comparitively "designed to be commercially viable," which I may be able to see, but I couldn't help a little jab.:D

[Sugar]

On edit - I like talking about this and my tone is jovial :cool:

Oh God yeah! Go figure, none of us really know anything! Even if you rely on what's said in interviews, puh-leeze. Hardly concrete proof with these folks! And I am too old to get all caught up in 25 year old drama that ain't even mine!:laugh: :xoxo:

[Steviefan49]

Oh God yeah! Go figure, none of us really know anything! Even if you rely on what's said in interviews, puh-leeze. Hardly concrete proof with these folks! And I am too old to get all caught up in 25 year old drama that ain't even mine!:laugh: :xoxo:

Amen on that one!:wavey: LOL.. After reading all of the articles and re-reading some of La Nick's articles with all of the contradictory stuff, where we all have to "read between her lines" - It all makes our lives seem WONDERFUL! LOL :laugh:

[shackin'up]

Yeah, but the solo albums weren't commercially successful, at least not compared to FM albums. Which says to me he was much more driven by artistic vision than by commercial sucess. Sure he would have loved to have had a hit with the solo stuff, and certainly he had hits with FM. If it was all about commercial sucess, he would have stuck with the tried and true formula of FM.



Oh yeah. Play in the Rain, I Must Go, DWSuite...truly the stuff of the masses. ;)

PS I'm guessing you meant comparitively "designed to be commercially viable," which I may be able to see, but I couldn't help a little jab.:D

Don't try Sugar, Strand just refuses to see that.

[strandinthewind]

Yeah, but the solo albums weren't commercially successful, at least not compared to FM albums. Which says to me he was much more driven by artistic vision than by commercial sucess. Sure he would have loved to have had a hit with the solo stuff, and certainly he had hits with FM. If it was all about commercial sucess, he would have stuck with the tried and true formula of FM.

But, that is my point, he wants commercial success with the comparatively outlandish. Tusk, the song, is a good example of this. Would that crazy and brilliant song have been a hit without FM - who can say for sure. But, it was. So, I think he thought he could do that alternative, quirky stuff on his own and have a hit with it. I do not think he ever released those 80's record without thinking they would be commercially viable to the tune of a few million sold. He had no reason not to IMO.


Oh yeah. Play in the Rain, I Must Go, DWSuite...truly the stuff of the masses. ;)

PS I'm guessing you meant comparitively "designed to be commercially viable," which I may be able to see, but I couldn't help a little jab.:D

HUSSY :p

I think LB smartly peppered his first two solo records with some hit material amongst the quirkier stuff. Interestingly and with the exception of "Come," his SYW stuff was rather mainstream and very commercial oriented.

[strandinthewind]

Don't try Sugar, Strand just refuses to see that.

LB is a talentless hack who continues to need La Nicks' coat tails to ride upon :D

[Sugar]

But, that is my point, he wants commercial success with the comparatively outlandish. Tusk, the song, is a good example of this. Would that crazy and brilliant song have been a hit without FM - who can say for sure. But, it was. So, I think he thought he could do that alternative, quirky stuff on his own and have a hit with it. I do not think he ever released those 80's record without thinking they would be commercially viable to the tune of a few million sold. He had no reason not to IMO.

Ah, so your point is he is commercially driven and was delusional enough to think "his vision" would be embraced comercially -- even though not one of his solo albums did "well" comercially.


HUSSY :p


Yeah. And? :p


I think LB smartly peppered his first two solo records with some hit material amongst the quirkier stuff. Interestingly and with the exception of "Come," his SYW stuff was rather mainstream and very commercial oriented.

Sure. Loving Cup sounds positively out of place next to DW Suite and I often wondered why it wasn't released as a single, and certainly the GOS stuff isn't as "experimental" as much of the stuff on L&O, GI, or even Tusk. So was this natural growth or a deliberate swing to the mainstream? The world may never know..

[strandinthewind]

Ah, so your point is he is commercially driven and was delusional enough to think "his vision" would be embraced comercially -- even though not one of his solo albums did "well" comercially . . . .

I think he would have loved to have had some quirky thing like "Come" be a huge multi platinum hit - it would be his way at thumbing his nose at his non mainstream becoming the mainstream, etc.

Isn't it interesting that La Nicks often claims she could not write a hit single to save her life - and, she really never has, other than Dreams, Sara, and Gypsy - the latter two heavily if not totally influenced by LB. I suppose Landlside became a hit, but 25 or so years after it was written.

But, it still remains that many if not most of her hit singles, by her own admission, were written, or heavily influenced, by someone else. The only one I can think of is E017, which she readily give WW credit for on the guitar riff, which rather makes that song.

In fact, I cannot think of any song that all her.

Note - she was the moving force behind many of them and, without her personage and voice (which are her talent) - they may have not been hits.

Finally - "Holiday Road" - which I suggest was quirky and could have been a hit, was on a movie soundtrack - go figure :laugh:

[Liza]

This is fantastic news for us fans in the UK an article in a UK mag. I reckon they are trying to sus out the fans, do a bit of promotional stuff based on FWM and see if they can get CV successful - and if it does well - then Stevie might come and do a few concerts - how wonderful.:blob1:

Wishful thinking!!!

[Sugar]

I think he would have loved to have had some quirky thing like "Come" be a huge multi platinum hit - it would be his way at thumbing his nose at his non mainstream becoming the mainstream, etc.

Absolutely. But IMO hoping and wanting to be a commercial success isn't the same as being comercially driven.


Isn't it interesting that La Nicks often claims she could not write a hit single to save her life - and, she really never has, other than Dreams, Sara, and Gypsy - the latter two heavily if not totally influenced by LB. I suppose Landlside became a hit, but 25 or so years after it was written.

But, it still remains that many if not most of her hit singles, by her own admission, were written, or heavily influenced, by someone else. The only one I can think of is E017, which she readily give WW credit for on the guitar riff, which rather makes that song.

Giving credit to The Police would have been more appropriate.:cool:

Certainly Stevie's persona was more what made her popular than her music per se, though her music certainly fed the persona. The songs on their own IMO would never have been as popular independent of her. It was her image, her beauty, the pathos she inserted into those songs that sold them. No doubt, that REALLY bugged the crap outta Linds!


Finally - "Holiday Road" - which I suggest was quirky and could have been a hit, was on a movie soundtrack - go figure :laugh:

Indeed, and yet it may actually be one of his best known songs! I made CD for a guy at work with GOS songs and filled out the time with other solo material, including Holiday Road. He told me a few weeks later that his teenage daughter was listening to the CD and that she snagged one of the songs on it for her iPod...Holiday Road.

[JazmenFlowers]

Certainly Stevie's persona was more what made her popular than her music per se, though her music certainly fed the persona. The songs on their own IMO would never have been as popular independent of her. It was her image, her beauty, the pathos she inserted into those songs that sold them. No doubt, that REALLY bugged the crap outta Linds!
I don't think that's true. I do think that her persona feeds her career heavily, but it's always been Stevie's music at the core of her success, I believe. maybe I'm misunderstanding your point, but it seems like you're saying it was image first, music second...when, in fact, I think it's exactly the opposite.

[strandinthewind]

Absolutely. But IMO hoping and wanting to be a commercial success isn't the same as being comercially driven . . . .

To me, it is the same thing. IMO, if he really wanted to do what the hell he wanted and the devil damn the rest of the world, he would have gone to a label that would have let him do that. His bravada during the day certainly suggested that was his mindset. Yet, he stayed with the big time label and remained there until they were totally disinterested in 2000 or so. When you stay with a big label, you have to make concessions to the commercial gods :cool: Therein lies my biggest problem with people saying LB is such a maverick, etc. It is pretty hard to be that and be with a big label, though the likes of Madonna did it with huge success. Of course, her popularity and proven gimmicks commanded her that option. Plus, I believe Madonna at some point owned her label (Maverick? ) - but I could be wrong.

Giving credit to The Police would have been more appropriate.:cool:

Mind lapse - remind me again of this reference

No doubt, that REALLY bugged the crap outta Linds!

hey - she told him she'd follow him down till the sound of her voice would haunt him - NEVAH GET AWAY -- NEVEAH GET AWAY --- NEEEEEEEEEEEEEEEEEEEEEEEEVVEAH GET AWAY :cool:

[strandinthewind]

I don't think that's true. I do think that her persona feeds her career heavily, but it's always been Stevie's music at the core of her success, I believe. maybe I'm misunderstanding your point, but it seems like you're saying it was image first, music second...when, in fact, I think it's exactly the opposite.

I think her music in its simple form (usually a piano demo until the mid 80's) was nothing to write home about, though the melody was pretty much there in raw form. But, it usually took a producer or session player to fill it out. A good example of this is the Gypsy piano demo and the Sara one. Those demos are a skeleton and production on each was immense and IMO brilliant. Granted, much of her own person is in the production, but it still took a talented player to set it. Then, her own talent (delivery, voice, mystery, etc. ) -- sold the final cut. But, in songs like After the Glitter Fades and L&L, the demos are pretty much the final cut, just with less music. So, she certainly can write a cool song and the music to set it to.

Did that make sense?

[shackin'up]

I think he would have loved to have had some quirky thing like "Come" be a huge multi platinum hit - it would be his way at thumbing his nose at his non mainstream becoming the mainstream, etc.

Isn't it interesting that La Nicks often claims she could not write a hit single to save her life - and, she really never has, other than Dreams, Sara, and Gypsy - the latter two heavily if not totally influenced by LB. I suppose Landlside became a hit, but 25 or so years after it was written.

But, it still remains that many if not most of her hit singles, by her own admission, were written, or heavily influenced, by someone else. The only one I can think of is E017, which she readily give WW credit for on the guitar riff, which rather makes that song.

In fact, I cannot think of any song that all her.

Note - she was the moving force behind many of them and, without her personage and voice (which are her talent) - they may have not been hits.

Finally - "Holiday Road" - which I suggest was quirky and could have been a hit, was on a movie soundtrack - go figure :laugh:

GOS: quirky for a big part.
Come, Red Rover, Say Goodbye, GOS, GI-live, Murrow, Try For The Sun, SGCYM (can't be seen as commercially crafted is it?) It's just DOR and Steal Your heart away, maybe Miranda and Twist of Fate, but Shuffle Riff is quirky too. Come on. These songs are totally noncommercial of basic idea. Cradle is the album that is the most commercial album of LB. But it had the "zeitgeist" playing against him.

No, it's just the problem of the recordcompany that doesn't have the guts of taking a song that stands out from the regular shit on radio as a single. For SYW they could have picked Miranda, or even GOS, that- if I remember correctly- would have been on the double-album if it was finished the way it was initiated.

And I still can't believe that the acoustic Big Love was never put out as a single; that one could have reinforced interest in LB.

Still: I believe that being commercial is the same as having the guts to take chances. Radiofriendly popdrizzle of high quality is NEVER EVER been written by Lindsey Buckingham nor Stevie Nicks. They had someone else in the band who specialized in that.

[JazmenFlowers]

I think her music in its simple form (usually a piano demo until the mid 80's) was nothing to write home about, though the melody was pretty much there in raw form. But, it usually took a producer or session player to fill it out. A good example of this is the Gypsy piano demo and the Sara one. Those demos are a skeleton and production on each was immense and IMO brilliant. Granted, much of her own person is in the production, but it still took a talented player to set it. Then, her own talent (delivery, voice, mystery, etc. ) -- sold the final cut. But, in songs like After the Glitter Fades and L&L, the demos are pretty much the final cut, just with less music. So, she certainly can write a cool song and the music to set it to.

Did that make sense?
kinda sorta.

I think that her talent really shines in those demos that aren't worthy of writing home about. her ability to write great lyrics and form a great melody. I'm not sure there are many singer/songwriters that can produce such embellished music. that's why the majority of singer/songwriters are folksy (and I hate to stereotoype) and don't require such production as the Fleetwood Macs or The Eagles of the world do. there's no way that I couldn't/wouldn't love Rhiannon or Beauty and the Beast or Wild Heart just as much even if I'd never seen Stevie Nicks. but, I will admit, her whole image/persona takes her music to another stratosphere.

ok, I hereby ban myself from using "/" again for at least 24 hrs. :lol:

ETA: I HATE GRAMMAR ERRORS. I bolded what I corrected.

[Sugar]

I think her music in its simple form (usually a piano demo until the mid 80's) was nothing to write home about, though the melody was pretty much there in raw form. But, it usually took a producer or session player to fill it out...Granted, much of her own person is in the production, but it still took a talented player to set it. Then, her own talent (delivery, voice, mystery, etc. ) -- sold the final cut. But, in songs like After the Glitter Fades and L&L, the demos are pretty much the final cut, just with less music. So, she certainly can write a cool song and the music to set it to.



This is a lot of it! I'm guessing that Strand's point (what I was referring to at first) was that it was ironic that, while Stevie's career was way more huge than Lindsey's, it wasn't really because she was a better songwriter than he was, which is what Lindsey was striving for. IMO it was her persona that set her apart and what really drew people to her.

[strandinthewind]

kinda sorta.

I think that her talent really shines in those demos that aren't worthing writing home about. her ability to write great lyrics and form a great melody. I'm not sure there are many singer/songwriters that can produce such embellished music. that's why the majority of singer/songwriters are folksy (and I hate to stereotoype) and don't require such production as the Fleetwood Mac or The Eagles of the world do. there's no way that I couldn't/wouldn't love Rhiannon or Beauty and the Beast or Wild Heart just as much even if I'd never seen Stevie Nicks. but, I will admit, her whole image/persona takes her music to another stratosphere.

ok, I hereby ban myself from using "/" again for at least 24 hrs. :lol:

36 hours :woohoo:

But and yes, her talent totally shines through like a super nova on those demos. But, IMO the production really enhances that. Look at GB in the IMO stellar and hearbreaking demo form and then the album cut, which is brilliant in its production, whicj she clearly was a part of. So, I agree with you that her talent is there. I just think it taked a producer to take it to the public as a commercially viable product, and that is where she can IMO get into trouble. But, it also works a la the final cut of B&B when compared to that awful R&B version lurking out there :eek:

[JazmenFlowers]

This is a lot of it! I'm guessing that Strand's point (what I was referring to at first) was that it was ironic that, while Stevie's career was way more huge than Lindsey's, it wasn't really because she was a better songwriter than he was, which is what Lindsey was striving for. IMO it was her persona that set her apart and what really drew people to her.
nope. I don't agree. no one's gonna argue that Lindsey isn't a great producer and that he helped Stevie get to where she is and create her signature sound or that he's not talented beyond belief as a guitarist, but I think Stevie's songwriting abilities far exceed Lindsey's. they are both amazing musicians, just in different ways. Lindsey's written some great songs...some amazing stuff even. there's a huge catalog of amazing songs he's written, but I don't think they compare to Stevie's catalog and the intensity therein. I think to say that Stevie's image is what made her and afforded her a solo career that swallowed Lindsey's is a gross misinterpretation.

my point:
amazing producer, guitarist - Lindsey
amazing songwriter, performer - Stevie

unfortunately for Lindsey, having the songwriting and performing talents are what make a successful artist moreso than an amazing producer and guitarist.

[Sugar]

To me, it is the same thing. IMO, if he really wanted to do what the hell he wanted and the devil damn the rest of the world, he would have gone to a label that would have let him do that. His bravada during the day certainly suggested that was his mindset. Yet, he stayed with the big time label and remained there until they were totally disinterested in 2000 or so. When you stay with a big label, you have to make concessions to the commercial gods :cool: Therein lies my biggest problem with people saying LB is such a maverick, etc. It is pretty hard to be that and be with a big label, though the likes of Madonna did it with huge success. Of course, her popularity and proven gimmicks commanded her that option. Plus, I believe Madonna at some point owned her label (Maverick? ) - but I could be wrong.

I would never refer to Linds as "maverick." You're right, why not just start his own label or go to a smaller label? Too much work? Too much effort? IDK. But I certainly think he was married to his vision andwasn't always interested in doing what it too to sell the most (my definition of "comercially driven")


Mind lapse - remind me again of this reference


the Police --Bring On The Night; same guitar, same beat. Beyond me why they didn't sue. :lol:


hey - she told him she'd follow him down till the sound of her voice would haunt him - NEVAH GET AWAY -- NEVEAH GET AWAY --- NEEEEEEEEEEEEEEEEEEEEEEEEVVEAH GET AWAY :cool:

She did not lie.

[JazmenFlowers]

I just think it taked a producer to take it to the public as a commercially viable product, and that is where she can IMO get into trouble.
in 95% of Stevie's career, I think this is true.

[strandinthewind]

. . . it wasn't really because she was a better songwriter than he was . . . .

I have often thought about this. ISA is brilliant as are most of his lyrics. In fact, many of them are more complex than her lyrics. Yet, she is the venerated song writer. I think that is because her delivery of her lyrics (which can be awkward in written form) is without par. Also, much of her stuff stands as poetry on its own - e.g. GB, Rhiannon, TISL, GDW, Wild Heart - to name a few.

But, so do many of LB's - Go Insane stands out in particular to me.

So, I would put them on somewhat equal footing as writers. But, she takes the cake in the delivery department, which is what made her.

I mean CM is great. I LOVE her stuff. I think she is incredibly talented. But, she never ever sold it on stage. Thus, her star was never as bright. Before the CM'ers come to kill me :laugh: -- I love her stuff. I am just saying that by her own admission, she related to the rythm section as opposed to fighting for the northern star.

[strandinthewind]

in 95% of Stevie's career, I think this is true.

I listen to some of her demos and think WHAT THE HELL WAS SHE THINKING :laugh: POTU (album cut) is a great example.

[JazmenFlowers]

I have often thought about this. ISA is brilliant as are most of his lyrics. In fact, many of them are more complex than her lyrics. Yet, she is the venerated song writer. I think that is because her delivery of her lyrics (which can be awkward in written form) is without par. Also, much of her stuff stands as poetry on its own - e.g. GB, Rhiannon, TISL, GDW, Wild Heart - to name a few.

But, so do many of LB's - Go Insane stands out in particular to me.

So, I would put them on somewhat equal footing as writers. But, she takes the cake in the delivery department, which is what made her.

I mean CM is great. I LOVE her stuff. I think she is incredibly talented. But, she never ever sold it on stage. Thus, her star was never as bright. Before the CM'ers come to kill me :laugh: -- I love her stuff. I am just saying that by her own admission, she related to the rythm section as opposed to fighting for the northern star.
ok, now I kinda see where you're going with this. and you're right, Lindsey's lyrics can be really poetic and equally intense as Stevie's...sidenote: I wonder how much they influenced each others' writing styles...

still, I think that by the sheer fact that Stevie has written 10 times the amount of songs, all just as good as the next, that Lindsey has, puts her atop the songwriter category. granted, Stevie has amassed a nice quantity of clunkers that are just ewww-worthy, but overall her catalog is impressive. and I'm not arguing quantity over quality...I'm just sayin' -

[strandinthewind]

OMG

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and (at 1:50)

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MY WORD - how HOT was Sting :eek:

[strandinthewind]

ok, now I kinda see where you're going with this.

still, I think that by the sheer fact that Stevie has written 10 times the amount of songs, all just as good as the next, that Lindsey has, puts her atop the songwriter category. granted, Stevie has amassed a nice quantity of clunkers that are just ewww-worthy, but overall her catalog is impressive. and I'm not arguing quantity over quality...I'm just sayin' -

I think that she likely is the better of the two because her stuff is more mysterious in that she rarely uses "I" -- so you have to think about the subject more.

I often wonder if she had a hand in the lyrics of ISA - they just sound so like her to me. Also, I am sure she influenced him back then as he did her. Oh to have been a fly on the wall.

[JazmenFlowers]

OMG
the similarities have always weirded me out. didn't Stevie say Waddy came up with the riff? and we all know Stevie's usual chord structure is usually start high in minor keys and progress to lower chords and then a variation of same. there's only a finite number of chord structures in the world...:shrug:

oh, and yeah, Sting was and still is hawt. tantric muthafucka.

[Sugar]

There's a huge catalog of amazing songs he's written, but I don't think they compare to Stevie's catalog and the intensity therein. I think to say that Stevie's image is what made her and afforded her a solo career that swallowed Lindsey's is a gross misinterpretation.



I'm not saying Stevie is a talentless hack! But how can you say Lindsey's songs lack intensity? You make it sound like he's been writing jingles!

And I think plenty of Stevie's solo career was wrapped up in her image. Realistically, Lindsey didn't have an image, while she did. After all no one was showing up to concerts dressed like Linds! I think her feminine empowerment was a lot of what was selling.

[JazmenFlowers]

I'm not saying Stevie is a talentless hack! But how can you say Lindsey's songs lack intensity? You make it sound like he's been writing jingles!
I know you weren't saying that and I didn't mean to suggest that's what you were saying. I think I made it clear that Lindsey's is an amazing songwriter as well.
And I think plenty of Stevie's solo career was wrapped up in her image. Realistically, Lindsey didn't have an image, while she did. After all no one was showing up to concerts dressed like Linds! I think her feminine empowerment was a lot of what was selling.
sure, a lot of her career is based on her image and I don't disagree with any of this. I was disagreeing with you in that at the core of her success was, and is, her music, first and foremost.

would you say Martha Graham's success was the most important part of her career and success or her actual talent? a shitty comparison, I know...but I did use Cher at first...so cut me some slack. :lol:

[Sugar]

OMG



Jaw-dropping, no? :laugh:

[strandinthewind]

Jaw-dropping, no? :laugh:

I wonder if she had heard of this song? If Waddy came up with the riff, it is possible she thought it was his alone. After all, the Police song was not a hit, etc.

I cannot remember now, but is there a piano demo or working demos of EO17 prior to the riff being made?

[strandinthewind]

[QUOTE=JazmenFlowers;709123 . . . but I did use Cher at first...so cut me some slack. :lol:[/QUOTE]

:laugh: :laugh:

rimshot on that one dahlin'

[Sugar]

I cannot remember now, but is there a piano demo or working demos of EO17 prior to the riff being made?

Nothing like that that I can think of. To my mind, all the "demos" sound more like rought cuts of the final...though I may be wrong.

[strandinthewind]

Nothing like that that I can think of. To my mind, all the "demos" sound more like rought cuts of the final...though I may be wrong.

I thought so. But, I no longer trust my memory, which is sad as my quick wit is lessened ;)

[Sugar]

sure, a lot of her career is based on her image and I don't disagree with any of this. I was disagreeing with you in that at the core of her success was, and is, her music, first and foremost.

would you say Martha Graham's success was the most important part of her career and success or her actual talent? a shitty comparison, I know...but I did use Cher at first...so cut me some slack. :lol:

I don't know nearly enough Martha Graham to comment on that specifically, But I doy believe that the reason Stevie was so popular wasn't because all these people were running around saying, "Hey did you hear that amazing Stevie song? She's such an amazing songwriter," though there are plenty in that contingency, me among them!

But that the credit for her widespread success --AKA a wide base of casual fans --probably goes a lot to her image, more of the "She's so cool. I love the way she dresses," variety. I mean, there are people here who don't want her to cut her hair because, "That just wouldn't be Stevie!" I don't think people said that about Carole King or Joni Mitchell.

Again, it's not that the songs weren't good, but the image gave her an edge (one Linds didn't have).

[JazmenFlowers]

^^^
no one's arguing that angle. I said "core" - ok, based on that post, I can see your point and I agree.

clearly, you were making one point and I was attempting to make another.

[David]

I have often thought about this. ISA is brilliant as are most of his lyrics.
I think What's The World Coming To is his best song. It reminds me mostly of Warren Zevon, & I think it's as good as anything Zevon or Randy Newman ever wrote: as sly & humorous & ironic. But it's a very conventional recording for the 2000s, unless you consider it retro-unconventional.

[Sugar]

^^^
no one's arguing that angle. I said "core" - ok, based on that post, I can see your point and I agree.

clearly, you were making one point and I was attempting to make another.


No big. :angel:

[GypsySorcerer]

I think that she likely is the better of the two because her stuff is more mysterious in that she rarely uses "I" -- so you have to think about the subject more.


If she's labeled as more mysterious, it's because no one has a freaking clue what she's talking about most of the time, which I get is part of her appeal.

If you would have asked me, say, 10 years ago, who was the superior songwriter -- Stevie or Lindsey -- I would have said Stevie, hands down. Right now, I think Lindsey is better. His material on SYW and GOS/UTS was, lyrically, the best he's written IMO. Stevie is still capable of great songwriting ("Trouble in Shangri-La"), but she's been very, very spotty the last decade. As for whose overall catalog is better, I say it's a draw.

[strandinthewind]

I think What's The World Coming To is his best song. It reminds me mostly of Warren Zevon, & I think it's as good as anything Zevon or Randy Newman ever wrote: as sly & humorous & ironic. But it's a very conventional recording for the 2000s, unless you consider it retro-unconventional.

I liked the song, but found the lyrics a tad trite, mostly due to his incessant whining about record companies since 1978.

But, I do like the song and I agree on its inherent Zevonism and Newmanism.

[strandinthewind]

If she's labeled as more mysterious, it's because no one has a freaking clue what she's talking about most of the time, which I get is part of her appeal.

If you would have asked me, say, 10 years ago, who was the superior songwriter -- Stevie or Lindsey -- I would have said Stevie, hands down. Right now, I think Lindsey is better. His material on SYW and GOS/UTS was, lyrically, the best he's written IMO. Stevie is still capable of great songwriting ("Trouble in Shangri-La"), but she's been very, very spotty the last decade. As for whose overall catalog is better, I say it's a draw.

I have often wondered if that is because she has so much more material out there. I think if you took all her clearly great stuff, it would exceed his in number. But, that is subjective and to each their own :cool:

[David]

I wonder if she had heard of this song? If Waddy came up with the riff, it is possible she thought it was his alone. After all, the Police song was not a hit, etc.I don't hear any major similarity between the two. The percussion pattern sort of, but other than that, nothing to my ears.
If you take the Heart song "Barracuda" & slow the tempo by about a third, that's a lot more Edge Of Seventeenish.

[strandinthewind]

I don't hear any major similarity between the two. The percussion pattern sort of, but other than that, nothing to my ears.
If you take the Heart song "Barracuda" & slow the tempo by about a third, that's a lot more Edge Of Seventeenish.

Interesting, but the riff in Barracuda has those pauses. But, I see your point, though I think the Police song does sound like E017.

[Sugar]

I have often wondered if that is because she has so much more material out there. I think if you took all her clearly great stuff, it would exceed his in number. But, that is subjective and to each their own :cool:


Is there "so much more"? Maybe I'll count it out later, but, what she has 6 solo albums, he has 4 (soon 5 we hope!). FM albums, where he usually had more songs on them, while granted she did BTM where he didn't. So she probably has more, but I don't know if this "she has released so much more" thing holds up anymore.

[GypsySorcerer]

I have often wondered if that is because she has so much more material out there. I think if you took all her clearly great stuff, it would exceed his in number. But, that is subjective and to each their own :cool:

Well, I was listening to the Enchanted boxed set today, and I skipped through 2/3 of the second disc. :laugh: My main issue with Stevie is that she reached her zenith early and has grown little as a songwriter over the years, something I think LB has accomplished. Don't get me wrong -- she has written some wonderful stuff. Just not very much post 1985.

[Johnny Stew]

I'm not saying Stevie is a talentless hack! But how can you say Lindsey's songs lack intensity? You make it sound like he's been writing jingles!I do think that, to the casual listener, some of Lindsey's early solo songs ("Bwana," "Love From Here, Love From There," "That's How We Do It In LA," "I Want You," "Play In The Rain," "I Must Go," to name a few) might sound like throw-aways.

His earlier solo material comes across as being less about the lyrical content and vocal performances, and more about the sonic soundscapes he was creating. The tracks are textured, boisterous, and just plain fun... but typically lacked the in-your-face emotion of what Stevie was doing.

The emotion is certainly there in Lindsey's songs, too, but it was fairly hidden by the bells and whistles.

So Lindsey's approach tended to appeal most to people who appreciate the art of creating and exploring new sounds, in an almost intellectual way. Stevie played more to the heart.

[JazmenFlowers]

Is there "so much more"? Maybe I'll count it out later, but, what she has 6 solo albums, he has 4 (soon 5 we hope!). FM albums, where he usually had more songs on them, while granted she did BTM where he didn't. So she probably has more, but I don't know if this "she has released so much more" thing holds up anymore.
I didn't realize we were discussing released material. my argument may change slightly. but, in demos alone she has enough material for at least 2 or 3 amazing albums.
Well, I was listening to the Enchanted boxed set today, and I skipped through 2/3 of the second disc. :laugh: My main issue with Stevie is that she reached her zenith early and has grown little as a songwriter over the years, something I think LB has accomplished. Don't get me wrong -- she has written some wonderful stuff. Just not very much post 1985.
quite true, I think...as far as released material goes. I do think, however, that it's because Stevie was so busy putting material together that she kind of hit a roadblock. Lindsey's had all that time to cultivate his stuff. she put out some amazing stuff back to back and then kind of tapped out whereas Lindsey put out some good stuff here and there and has been able to kind of stretch it. there's not as much of his material to compare to Stevie's.

[strandinthewind]

Well, I was listening to the Enchanted boxed set today, and I skipped through 2/3 of the second disc. :laugh: My main issue with Stevie is that she reached her zenith early and has grown little as a songwriter over the years, something I think LB has accomplished. Don't get me wrong -- she has written some wonderful stuff. Just not very much post 1985.

I think there were some stellar things on OSTOM (Ghosts, LWTG, ROF) and SA (BD, LTR, SA) and others. I think, though, the production of those songs was mostly lacking. IMO, the reason is that she no longer relied on a killer piano section as she did for the first two solo records.

[JazmenFlowers]

His earlier solo material comes across as being less about the lyrical content and vocal performances, and more about the sonic soundscapes he was creating. The tracks are textured, boisterous, and just plain fun... but typically lacked the in-your-face emotion of what Stevie was doing.
and Stevie has said Lindsey doesn't really care about the words.

I don't really think that's true, but maybe on some level on some songs it is true.

[strandinthewind]

Is there "so much more"? Maybe I'll count it out later, but, what she has 6 solo albums, he has 4 (soon 5 we hope!). FM albums, where he usually had more songs on them, while granted she did BTM where he didn't. So she probably has more, but I don't know if this "she has released so much more" thing holds up anymore.

I am pretty sure she has more, but now, when the comparing begins, it all becomes subjective in that some people may love WISYA and hate GYOW.

[strandinthewind]

and Stevie has said Lindsey doesn't really care about the words . . . .


I have always though she meant that from the contect of the 19 layers of guitar work that took six years to create were more important to him than the phrasing of the lyric. He has said that they write so differently and that is the difference.

[JazmenFlowers]

I have always though she meant that from the contect of the 19 layers of guitar work that took six years to create were more important to him than the phrasing of the lyric. He has said that they write so differently and that is the difference.
maybe so :shrug:

[Sugar]

I am pretty sure she has more, but now, when the comparing begins, it all becomes subjective in that some people may love WISYA and hate GYOW.

OK I just did a VERY rough count and, for released material, I have 99 songs from Nicks and 72 from Buckingham. For whatever it matters. :]

[Sugar]

I do think that, to the casual listener, some of Lindsey's early solo songs ("Bwana," "Love From Here, Love From There," "That's How We Do It In LA," "I Want You," "Play In The Rain," "I Must Go," to name a few) might sound like throw-aways.

His earlier solo material comes across as being less about the lyrical content and vocal performances, and more about the sonic soundscapes he was creating. The tracks are textured, boisterous, and just plain fun... but typically lacked the in-your-face emotion of what Stevie was doing.

The emotion is certainly there in Lindsey's songs, too, but it was fairly hidden by the bells and whistles.

So Lindsey's approach tended to appeal most to people who appreciate the art of creating and exploring new sounds, in an almost intellectual way. Stevie played more to the heart.

Admittedly, when I think about what I love about Lindsey's solo music I think about OOTC and after, along with the FM stuff. Certainly we can talk about what L&O and GI lacked, and warmth might be one of those things, but intensity -- for good or for bad -- I don't think so. :laugh:

[Sugar]

I have always though she meant that from the contect of the 19 layers of guitar work that took six years to create were more important to him than the phrasing of the lyric. He has said that they write so differently and that is the difference.


To say that he "doesn't care" might be a bit much, but I think we can all see from the demos that she starts with the lyrics and minimal (oh so minimal :D ) instrumentation, while he usually has the instrumentation worked out while singing along with nonsense words.

[Johnny Stew]

My main issue with Stevie is that she reached her zenith early and has grown little as a songwriter over the years, something I think LB has accomplished. Don't get me wrong -- she has written some wonderful stuff. Just not very much post 1985."Growth," I suppose, is a matter for debate. Her current songs aren't far afield from her earlier stuff as far as subject matter (eg: she's not writing songs from the perspective of Greek gods looking down on their "little experiment"), but I do believe she's certainly matured as a songwriter.

The "mysticism" is gone now, and is replaced by a more clear-headed lyrical viewpoint. The lyrics give the impression that she's no longer seeking answers to questions of life and love -- she's instead trying to impart whatever wisdom she may have gained on those subjects thus far.

[Johnny Stew]

OK I just did a VERY rough count and, for released material, I have 99 songs from Nicks and 72 from Buckingham. For whatever it matters. :]I think, percentage-wise, both songwriters have an almost equal amount of clunkers and gems.

Each of them have always had, on their solo albums, about four or five songs that "only a fan could love."

[SortaSavageLike]

Each of them have always had, on their solo albums, about four or five songs that "only a fan could love."

Per album, or throughout their entire solo careers? :shrug: Because Bella Donna and Out Of The Cradle seem like they'd be pretty accessible to The Proles.

[strandinthewind]

Affairs of the Heart
After the Glitter Fades
Alice
The Apartment Song - Petty's song
Angel
At Last - cover
Battle of the Dragon
Beautiful Child
Beauty and the Beast
Bella Donna
The Blonde in the Blue T-Bird - harmony
Blue Denim
Blue Lamp
Bombay Sapphires
Book of Miracles (instrumental)
Candlebright
Can't Get Enough - harmony
Casablanca - Dane Donohue - harmony
Cat Dancer - Sandy Stewart - harmony
The Chain
C'mon, C'mon - Sheryl Crow - harmony
Cry Wolf
Crying in the Night
Crystal - 2 versions
Desert Angel
Desiree - Rick Vito - duet
Destiny
Destiny Rules
Devil Wind - Bob Welch - Three Hearts - harmony
Diamond Road - Sheryl Crow - harmony
Docklands
Doing the Best I Can (Escape from Berlin)
Don't Let Me Down Again
Dreams
Edge of Seventeen
Enchanted
Everybody Finds Out
Every Day
Fall From Grace
The Farmer's Daughter
Feel So Good - Walter Egan - harmony
Finally Find a Girlfriend - Walter Egan - harmony
Fire Burning
Fireflies
Free Fallin' - cover
Freedom
Frozen Love
Garbo
Gate and Garden
Get My Way - Sandy Stewart - harmony
Ghosts
God's Garden
Gold - John Stewart - duet
Gold Dust Woman
Gold And Braid
Goodbye Baby
Greta
Gypsy
Has Anyone Ever Written Anything for You
Hello It's Me - Todd Rundgren - harmony
The Highwayman
How Still My Love
Hurry Boy - Tom Snow - harmony
I Can't Wait
I Don't Want to Know
I Miss You
I Need To Know
I Pretend - Sandy Stewart - duet
I Sing for the Things
I Still Miss Someone (Blue Eyes)
I Will Run to You
If Anyone Falls
If I Were You
If You Ever Did Believe
Illume
Imperial Hotel
Insider - Tom Petty - duet/harmony
Inspiration
Intuition - Rick Vito - harmony
It's Late
It's Only Love
Jane
Juliet
Just Like a Woman
Just the Wanting - Walter Egan - harmony
Kick It
Kind of Woman
Landslide
Lay Down Your Arms - cover and harmony
Leather and Lace
Let Me Count the Ways - Dave Koz - duet
Listen to the Rain
Long Distance Winner
Long Way to Go
Love Changes
Love Is
Love Is Dangerous
Love Is Like a River
Love's a Hard Game to Play
Magnet and Steel - Walter Egan - harmony
Maybe Love Will Change Your Mind
Midnight Wind - John Stewart - harmont/duet
Mirror, Mirror
Mohammed's Radio - Warren Zevon - duet
My Little Saviour - Jesse Camp - duet
Needles and Pins - Tom Petty - duet
Nightbird
The Nightmare
No Questions Asked
No Spoken Word
Not Make Believe
Nothing Ever Changes
One More Big Time Rock and Roll Star
Only the Lucky - Walter Egan - duet
Ooh My Love
Outside the Rain
Paper Doll
Planets of the Universe
Races are Run
Real Tears
Reconsider Me
Rhiannon
Rock a Little
Rock and Roll - cover
Rooms on Fire
Rose Garden
Rosanna - Tom Snow - harmony
Running Through the Garden
Sable on Blond
Sara
Say You Will
The Second Time
Secret - Robin Zander - harmony
Separate Lives - harmony
Seven Wonders
Silent Night - cover
Silver Girl
Silver Springs
Sister Honey
Sisters of the Moon
Sleeping Angel
Smile At You
Smiling Islands - Robbie Patton - duet
Some Become Strangers
Somebody Stand By Me
Sometimes It's a Bitch
Sorcerer
Stand Back
Star in the Dust - Walter Egan - harmony
Stop Draggin' My Heart Around
Storms
Straight Back
Street Angel
Strong Enough - Sheryl Crow - harmony
Sweet Girl
Talk to Me
That's Alright
That Made me Stronger
Think About It
Thousand Days
Thrown Down
Too Far from Texas
Touched by an Angel
Trouble in Shangri-La
Tunnel of Love - Walter Egan - harmony
Twisted
Two Kinds of Love
Unconditional Love
Violet and Blue
Welcome to the Room...Sara
When I Get My Wheels - Walter Egan - harmony
When I see You Again
Whenever I Call You Friend
Whole Lotta Trouble
Wild Heart
Without a Leg to Stand On
Woman - Dane Donohue - harmony
Won't You Say You Will - Walter Egan - harmony
You Can Still Change Your Mind - Petty - harmony
You Like Me (1987) written by Stevie Nicks, recorded by the Williams Brothers w/out Stevie
You're Not The One
______________________________________________________

I tried to make that accurate. Count them as you will. I submit that most of the harmony stuff does not count as one of her songs per se, but it is still time she was spending not doing her own stuff while LB was doing his own stuff, unless LB worked with her a la Magnet and Steel. So, take that for what it is worth.

[Sugar]

^^^

Oh holy crap.:lol:

Since we were talking about quality of their songs along with the number of songs I only counted songs with at least a co-writing credit, i.e. Some Become Strangers and I Am Waiting didn't make my list.

[Johnny Stew]

Per album, or throughout their entire solo careers? :shrug: Because Bella Donna and Out Of The Cradle seem like they'd be pretty accessible to The Proles.I meant on average.

'Bella Donna' and 'Out Of The Cradle' would definitely be exceptions to that rule, though I'd venture to say that those two albums have maybe one or two "only a fan could love" songs apiece.

[Johnny Stew]

Since we were talking about quality of their songs along with the number of songs I only counted songs with at least a co-writing credit, i.e. Some Become Strangers and I Am Waiting didn't make my list.I agree -- the conversation should be kept to songs that they've had a hand in penning.

[strandinthewind]

^^^

Oh holy crap.:lol:

Since we were talking about quality of their songs along with the number of songs I only counted songs with at least a co-writing credit, i.e. Some Become Strangers and I Am Waiting didn't make my list.


I am so anal :laugh:

Seriously though, I agree anbd think the songs she actually wrote count more. But, she likely spent an entire year or so (cummulatively) working on other peoples' stuff - so that should factor in somehow - maybe add five songs to her self written total.

[MacMan]

I have always though she meant that from the contect of the 19 layers of guitar work that took six years to create were more important to him than the phrasing of the lyric. He has said that they write so differently and that is the difference.

I think I read once where Lindsey said or someone said that he will come up with the music and write the lyrics around that... whereas Stevie will do the opposite...she have the words, then work on a melody... Not sure if that makes a difference in how a song will turn out or not.

[MacMan]

To say that he "doesn't care" might be a bit much, but I think we can all see from the demos that she starts with the lyrics and minimal (oh so minimal :D ) instrumentation, while he usually has the instrumentation worked out while singing along with nonsense words.

Ooops... Should have read further down... You said what I was thinking..

[shackin'up]

OK ignore my posts. but read this:

If you are thinking LB's songwriting can be seperated from playing with 19 layers of guitar, you still don't understand the man.

If you think his work lacks intensity, you just know ONE kind if intensity. The obvious one.

[strandinthewind]

I think I read once where Lindsey said or someone said that he will come up with the music and write the lyrics around that... whereas Stevie will do the opposite...she have the words, then work on a melody... Not sure if that makes a difference in how a song will turn out or not.

I think it does. I think Stevie's way is a poem set to music. LB's is less poetic if you will.

[strandinthewind]

OK ignore my posts. but read this:

If you are thinking LB's songwriting can be seperated from playing with 19 layers of guitar, you still don't understand the man.

If you think his work lacks intensity, you just know ONE kind if intensity. The obvious one.

1. I never said his lyrics could be sep. like that. But, certainly his musical songwriting can on some level as the man is known to layer sound. It is is strongsuit in fact. Why is saying that incorrect or an nsult :shrug:

2. I never said anything about his or intensity. Maybe you were addressing someone else with that. I think his songs are very dense and intense. His lyrics, for the most part, not so much - though Go Insane and ISA certainly are - but Trouble and Family Man are not.

[SortaSavageLike]

2. I never said anything about his or intensity...but Trouble and Family Man are not.

Hold on a minute. Trouble is the darkest, most gruesome, gritty, intense, soul-ripping song Lindsey has ever written. Do we ever really learn why he's in so much trouble? Or why he must arrive...on the double? Or under what circumstances he managed to forget what love is for?

The song is obviously about a bank heist gone horribly wrong. I think what Lindsey is saying that if he doesn't get to his mob boss "on the double," he'll be in a "lot of trouble," and one of his henchmen will kill someone very close to him, which will eventually force him to "forget about love was for." What a depressing song! :(

[David]

I think it does. I think Stevie's way is a poem set to music. LB's is less poetic if you will.It's popular these days to talk of poetry beyond literary genres. So for example we hear about poetic films, poetry in sculpture, in dance (the phrase "poetry in motion"), in theater, even in television & advertisements. Is it so farfetched to talk in all seriousness of Lindsey's poetry in orchestration & guitar playing? Plus, what makes the words to "Soul Drifter" any less poetic than those to "Kind of Woman" or "Sleeping Angel"? "Poetic" doesn't always have to remind you of autumn moons & ravens perched in oak trees. If the word is going to be used for Stevie's words, then there is also poetry in Christine's singing & playing, & in Mick's drumming. That's all poetry in the wide-ranging, popular sense. Take Lindsey's annoying & incessant description of his art -- painting on a canvas -- as seriously as it deserves. It is actually a very accurate metaphor for what he does. He "paints" (no other word for it) on tape (or nowadays on digital media).

But one of the criticisms I have of Lindsey's poetry is that, despite his obvious musical intelligence & urge to explore the new, he has almost never gone beyond the (to me) limiting boundary of popular music. Only here & there & only in bits & pieces has he stepped in deeper waters--like his musique concrete mini-experiment on his 2nd solo album, & his borrowings of classical themes. But even those have been diatonic & not chromatic (the more adventurous style for contemporary pop composers like David Byrne & Frank Zappa).

For example, I would have expected a major, lengthy instrumental piece from Lindsey after all these years.I'm not just talking "Book of Love" or something that's in effect a pop song without singing. I'm talking a serious instrumental composition, taken at length (rather than instrumental "breaks" like those in the D.W. Suite). This is what I would expect, not from someone who considers himself primarily a songwriter (like Springsteen) but from someone who clearly thinks in sonic/textural terms rather than verbal ones.

I imagine wonderful things from him if he had chosen to compose, say, film scores all these years. Instead, we get a lot of retro conservatism from guys like Howard Shore & James Newton Howard. But Lindsey had the ability to create movie scores that you could talk about seriously, like the renaissance in scoring for the French New Wave when songwriters like Jean Constantin & Maurice Jarre created experimental but hugely popular scores that were equal to the characters in importance. But, heckers, he didn't ....

[Sugar]

^^^ I think you just made Jason's point...:lol:

[strandinthewind]

^^^

I agree with you. I was, however, referring to the fact that La Nicks states she takes journal entries and turns them into poems. Then, she writes a melody to fit her poetry. So, they start out as poems. LB's, from what I have heard, do not. Rather, they are a product of the music. So, that is where I was getting her poems are perhaps truer poetry because they started out that way, perhaps like some of the Psalms, which are now only mostly spoken.

I do think, though, that LB's poetry, in a borader sense, is in his layering of music.

I agree that it would heavenly if he did something along the lines of Steinman's epic "Bat out of Hell" - perhaps done very simply with a cello, celesta (the French four octave), tympany, and him on acoustic guitar. If there must be woodwinds, I suggest an oboe. If we must be modern, then a glockenspiel could suffice in crescendo, which I suggest will be many. I think this would give the mad musician something very different - Ersatz if you will.

[michelle2677]

i think both stevie and lindsey are very talented in their own right. Most of this just boils down to the FM fan individual and what makes them tick. or, cry like a baby, if you will :lol:

there are some people who are really touched by the lyrics and the way they are sung. The emotion, the power behind what the words mean, and why they were written. Then there are those who would want to slit their wrists after listening to a guitar solos because they are so haunting and sad. Or....drum solo, if you will :lol: those people who just "get it". They can hear the emotion and turmoil in instrumentals, or solos. Or it can make them happy. Words don't matter...they dont' matter at all, baby ;)


Me personally, I'm a lyric person. that is how music inspires me and grabs my soul. I need to know every word to a song, and perferably why it was written. what was the writer going through when it was written and how does that fit into my life? They words I can understand. The other...not so much. maybe one day.



I've had this conversation with MULTIPLE fm fans over the years and one things always remains the same-no agreement has ever been made :lol:

so I think it boils down mostly to the fan himself, rather than the personal achievements of stevie or lindsey themselves.

okay :) carry on :)

[Serrart]

I imagine wonderful things from him if he had chosen to compose, say, film scores all these years. Instead, we get a lot of retro conservatism from guys like Howard Shore & James Newton Howard. But Lindsey had the ability to create movie scores that you could talk about seriously, like the renaissance in scoring for the French New Wave when songwriters like Jean Constantin & Maurice Jarre created experimental but hugely popular scores that were equal to the characters in importance. But, heckers, he didn't ....

I don't know. You mean he can orchestrate effectively enough for a whole soundtrack or that he could create two or three wonderful guitar driven pieces to insert in a movie? I'd totally agree on the second option, but have some doubts on the first. Besides, it's not all retro conservatism. IMO, now and then there have been, in recent years, also fantastic and very innovative soundtracks created by Clint Mansell, Arvo Part or Tan Dun.


Romy

[David]

I don't know. You mean he can orchestrate effectively enough for a whole soundtrackAbsolutely. I think he has (or had) the musical intelligence & the abundance of ideas to have composed entire scores. He certainly can't orchestrate in the traditional sense -- he can't notate parts for the various instruments of the orchestra -- but neither can a lot of score writers & it doesn't stop them from scoring on a single instrument (say, a synthesizer) & then handing it over to an accomplished orchestrator. I doubt Randy Newman wrote out the orchestration for his score for "The Natural," & I know even orchestra-literate composers from the old days, like Stothart & Newman, sometimes would turn over orchestration duties to someone else. (Even John Williams let someone else orchestrate much of his "Close Encounters" score.) But Lindsey could have written good scores for other combinations of digital, electronic & electromechanical instruments & just avoided traditional orchestration entirely -- or "faked" traditional assignments of instruments on a workstation. I have no doubt he can find his way around a workstation, & that's all it takes to write all sorts of music these days. (I'm thinking of compositions like "Christian Zeal & Activity" or "Hoodoo Zephyr" by Adams. Lindsey will never write a "Shaker Loops," but he might have written the either of the former.)

But beyond the technical ability to have done so, he had the musical ability as well. I wonder whether the idea ever occurred to him, or whether someone else ever pitched the idea to him & he declined. We're so used to thinking of him in terms of the pop song format because that's virtually all he has worked in all his life. (We used to think that way of Danny Elfman, too, back in the "Only a Lad" days.) I'm puzzled as to why he kept returning to that format over the years, to the exclusion of other formats, especially when he usually couldn't acquire the audience he probably wanted. Even without movie scores, he might have tried lengthy suites the size of an entire CD (which of course has already been pioneered by pop musicians from ELO to Kate Bush).

I think the old folkie ways circa 1962 die hard in Lindsey.

[Serrart]

But Lindsey could have written good scores for other combinations of digital, electronic & electromechanical instruments & just avoided traditional orchestration entirely -- or "faked" traditional assignments of instruments on a workstation. I have no doubt he can find his way around a workstation, & that's all it takes to write all sorts of music these days. (I'm thinking of compositions like "Christian Zeal & Activity" or "Hoodoo Zephyr" by Adams. Lindsey will never write a "Shaker Loops," but he might have written the either of the former.)

But beyond the technical ability to have done so, he had the musical ability as well. I wonder whether the idea ever occurred to him, or whether someone else ever pitched the idea to him & he declined. We're so used to thinking of him in terms of the pop song format because that's virtually all he has worked in all his life. (We used to think that way of Danny Elfman, too, back in the "Only a Lad" days.) I'm puzzled as to why he kept returning to that format over the years, to the exclusion of other formats, especially when he usually couldn't acquire the audience he probably wanted. Even without movie scores, he might have tried lengthy suites the size of an entire CD (which of course has already been pioneered by pop musicians from ELO to Kate Bush).

I think the old folkie ways circa 1962 die hard in Lindsey.


Lindsey like John Adams? That's quite an interesting comparison. I also don't see him able to create anything like Shaker Loops but I see your point on Hoodoo Zephyr (not my cup of tea though, even if I don't know him very well, I much prefer his concertos or chamber works). I guess teorically probably he has the skills to follow that path, but does he have also that kind of mental discipline? By the way I would be very intrigued to hear some suites from him.

Romy

[BlackWidow]

Actually, she said "I think I aws singing through one of his solos or something," which is consistent with what she and others have said before :shrug: If you have any contrary quotes from her or others, let's see them :wavey:

Nice try though :angel:

Lindsey looks like he wants to throw his Les Paul at her here too!!!:laugh:
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[strandinthewind]

Or, nail her to the stage or an amp, which according to more than one happened more than once on that tour :eek:

It's a thiiiiiiiinnnnn line, between love and hate :cool:

[BlackWidow]

Or, nail her to the stage or an amp, which according to more than one happened more than once on that tour :eek:

It's a thiiiiiiiinnnnn line, between love and hate :cool:

"...look at me with daggers..it won't do you any good!" :lol: :lol: :lol:

[GarboSpeaks!]

Could someone who has this inform me of something? I thought this articlewould be in the Sept issue also featuring Siouxsie Sioux. Then I get an alert from Siouxsie's MySpace board that she is in the Oct. issue. I just need help, cause I am seeking this. My 2 fav girls in one issue? Is that possible? Thanks in advance. I do belive there were some scans here, but my PC is being dumb, and I'm just getting lil red x's. ty

[Glittermoondust]

Could someone who has this inform me of something? I thought this articlewould be in the Sept issue also featuring Siouxsie Sioux. Then I get an alert from Siouxsie's MySpace board that she is in the Oct. issue. I just need help, cause I am seeking this. My 2 fav girls in one issue? Is that possible? Thanks in advance. I do belive there were some scans here, but my PC is being dumb, and I'm just getting lil red x's. ty

From what I can see of the scan of the cover I think they are both in the same magazine.......

[GarboSpeaks!]

And that's the Sept issue right? Where do you see the cover. What I thought were scans were the utube things. TY amy :xoxo:

[MacMan]

And that's the Sept issue right? Where do you see the cover. What I thought were scans were the utube things. TY amy :xoxo:


You can see what the mag front looks like on their site as well... http://www.mojo4music.com/

[TheWILDheart]

Lindsey looks like he wants to throw his Les Paul at her here too!!!:laugh:
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I always loved Stevie's "CCCCCHHHHAAAAAAAAIIIIIINNNNNNNN"

[BlackWidow]

I always loved Stevie's "CCCCCHHHHAAAAAAAAIIIIIINNNNNNNN"

I miss the ethereal belting....:(

[GarboSpeaks!]

You can see what the mag front looks like on their site as well... http://www.mojo4music.com/

I aspire to have common sense. Der. Why didn't I think of that. ty. :o