24 Karat Gold: Reviews

[michelej1]

Yorkshire Evening Post by James Nuttall

Album review: 24 Karat Gold: Songs from the Vault by Stevie Nicks

http://www.yorkshireeveningpost.co.u...icks-1-6893762

Fleetwood Mac may have just started a mammoth tour of the United States, their first with songbird Christine McVie in 17 years, but Stevie Nicks has still managed to release a new solo album, this month.


24 Karat Gold: Songs From the Vault, is a collection of 14 songs from Nicks’ enormous back catalogue of demos that never made it onto her records- songs which were written between 1969 and 1995.

Recorded over a three-month period, Eurythmics’ Dave Stewart was once again on production duties. After producing her last album, In Your Dreams, which was something of a let-down both musically and lyrically compared to 2001’s Trouble in Shangri-La, 24 Karat Gold makes much more of a statement than both of the aforementioned releases.

This may be, in part, due to Nicks herself also producing the record, with the help of long-time collaborator Waddy Watchel, who featured heavily on her early solo albums.

The reason this record has much more of an impact than her more recent albums, is possibly because each of the 14 tracks follow the same theme. In the liner notes, Nicks states: “ Each song is a lifetime. Each song has a soul. Each song has a purpose. Each song is a love story… They represent my life behind the scenes, the secrets, the broken hearts, the broken hearted and the survivors.”

Kicking off with the Rolling Stones-esque Starshine, Nicks’ unmistakeable nasal voice remains as constant as her chiffon scarves and platform boots.

Next up is The Dealer, which was demoed for both her first solo album, Bella Donna, and her third, Rock A Little. Finally making it onto 24 Karat Gold, it is very similar to the superior first version, demoed for Bella Donna.

Other fine up-tempo tracks include I Don’t Care, the token snarling ‘rock-out’ moment, which features at least once on most of Nicks’ solo records; and Cathouse Blues, more honky tonk in flavour.

That being said, this album’s finest moments take shape in the form of its darkest tracks. The title track begins with a pounding bassline, and goes into a haunting piano rhythm and jarring guitar part from Mr Watchell, as Ms Nicks sings about the chains of love.

Mabel Normand is another highlight on the record. Originally demoed for the Rock A Little album in 1985 – a time when Nicks was paying the price for her years of cocaine abuse – it documents the life of the silent film actress it is named after, who had the same substance battle several decades before. It becomes clear that Nicks is writing about Normand and herself in the song, as she sings: “She did her work, but her heart was quietly crying. I guess she even felt guilty about even dying.”

Gorgeously simple ballads, such as If You Were My Love and Hard Advice, nicely juxtapose the rockier material on the album.

24 Karat Gold is probably the most consistently fine selection of Nicks’ self-penned material since her 1983 album, The Wild Heart. A fine selection of similar yet different songs, each holding their own within this album, which is not something that could be said for Nicks’ last solo effort.

This is a real insight into the last 45 years of the life of one of the most unique and mystical talents there has ever been. Nicks has held nothing back, this time.

[PenguinHead]

Originally Posted by jwd

Ahhhh, you missed my feeble attempt at sarcasm. He rated it almost perfectly at 4.5 out of 5 stars. I'm not complaining. I rather like his review, especially this excerpt:


"As a homage to the tracks themselves, Stewart kept the production simple, recording and producing them near to the style in which they would have been recorded back when they were written. Nicks’ unmistakable raspy voice is stellar over these tracks, her stream-of-consciousness lyricism and song structures just as fresh now as they were in the so-called heyday. The result is a high-quality, solid collection of rock songs that sound timeless rather than dated, reaffirming that Nicks is just as relevant to rock culture here in the twenty-teens as she was during the peak of Fleetwood Mac."

My feeble sarcasm was misunderstood; I wanted to see five stars.

What I am surprised about and don't understand is the deriding criticism of In Your Dreams. In my mind and ears, it's a very solid album. Her lyrics are standardly on par with everything else she's written and recorded.

[jwd]

Originally Posted by PenguinHead

My feeble sarcasm was misunderstood; I wanted to see five stars.

Damn, you're hard to please.

[PenguinHead]

Originally Posted by jwd

Damn, you're hard to please.

Sometimes. I prefer 25 Karats. Just one Karat more!

[jwd]

Originally Posted by michelej1

Yorkshire Evening Post by James Nuttall

Album review: 24 Karat Gold: Songs from the Vault by Stevie Nicks

http://www.yorkshireeveningpost.co.u...icks-1-6893762

Fleetwood Mac may have just started a mammoth tour of the United States, their first with songbird Christine McVie in 17 years, but Stevie Nicks has still managed to release a new solo album, this month.


24 Karat Gold: Songs From the Vault, is a collection of 14 songs from Nicks’ enormous back catalogue of demos that never made it onto her records- songs which were written between 1969 and 1995.

Recorded over a three-month period, Eurythmics’ Dave Stewart was once again on production duties. After producing her last album, In Your Dreams, which was something of a let-down both musically and lyrically compared to 2001’s Trouble in Shangri-La, 24 Karat Gold makes much more of a statement than both of the aforementioned releases.

This may be, in part, due to Nicks herself also producing the record, with the help of long-time collaborator Waddy Watchel, who featured heavily on her early solo albums.

The reason this record has much more of an impact than her more recent albums, is possibly because each of the 14 tracks follow the same theme. In the liner notes, Nicks states: “ Each song is a lifetime. Each song has a soul. Each song has a purpose. Each song is a love story… They represent my life behind the scenes, the secrets, the broken hearts, the broken hearted and the survivors.”

Kicking off with the Rolling Stones-esque Starshine, Nicks’ unmistakeable nasal voice remains as constant as her chiffon scarves and platform boots.

Next up is The Dealer, which was demoed for both her first solo album, Bella Donna, and her third, Rock A Little. Finally making it onto 24 Karat Gold, it is very similar to the superior first version, demoed for Bella Donna.

Other fine up-tempo tracks include I Don’t Care, the token snarling ‘rock-out’ moment, which features at least once on most of Nicks’ solo records; and Cathouse Blues, more honky tonk in flavour.

That being said, this album’s finest moments take shape in the form of its darkest tracks. The title track begins with a pounding bassline, and goes into a haunting piano rhythm and jarring guitar part from Mr Watchell, as Ms Nicks sings about the chains of love.

Mabel Normand is another highlight on the record. Originally demoed for the Rock A Little album in 1985 – a time when Nicks was paying the price for her years of cocaine abuse – it documents the life of the silent film actress it is named after, who had the same substance battle several decades before. It becomes clear that Nicks is writing about Normand and herself in the song, as she sings: “She did her work, but her heart was quietly crying. I guess she even felt guilty about even dying.”

Gorgeously simple ballads, such as If You Were My Love and Hard Advice, nicely juxtapose the rockier material on the album.

24 Karat Gold is probably the most consistently fine selection of Nicks’ self-penned material since her 1983 album, The Wild Heart. A fine selection of similar yet different songs, each holding their own within this album, which is not something that could be said for Nicks’ last solo effort.

This is a real insight into the last 45 years of the life of one of the most unique and mystical talents there has ever been. Nicks has held nothing back, this time.

Don't understand why this production formula can't work on the next Mac record with Stevie's songs. Who's got too much pride?

Quite a good and complimentary review for Stevie. I don't recall her ever getting this much overall critical praise for a solo record, ever.

[Jondalar]

Album: “24 Karat Gold: Songs From the Vault” (Warner Bros.)

Grade: A

As its title suggests, “24 Karat Gold: Songs From the Vault” offers new recordings of tunes Fleetwood Mac frontwoman Stevie Nicks wrote as long ago as 1969; the most recent is from 1995.

Recorded mostly in Nashville with Nicks’ longtime guitarist Waddy Wachtel and Dave Stewart, “24 Karat Gold” makes room amid the retrospection for some new sounds. “Cathouse Blues” touches unexpectedly on ragtime, while “Blue Water,” with backing vocals by Lady Antebellum, shimmers with traces of country and soul.

There’s also a couple of crunching hard-rock numbers, including “I Don’t Care,” that feel powered by the same aggression Fleetwood Mac channeled on its 2013 arena tour. Whatever the arrangement, though, Nicks’ voice defines the music here. Her singing dominates as easily now as it ever did.

—Mikael Wood, Los Angeles Times

- See more at: http://www.vindy.com/news/2014/oct/1....IEckzfq0.dpuf

[jkmaletic]

Originally Posted by PenguinHead

My feeble sarcasm was misunderstood; I wanted to see five stars.

What I am surprised about and don't understand is the deriding criticism of In Your Dreams. In my mind and ears, it's a very solid album. Her lyrics are standardly on par with everything else she's written and recorded.

Right? I think although these two albums are totally different, I think they are of equal quality.

[tabruns]

Well, I think some people just couldn't get past that IYD was largely Stevie as lyricist only. Personally I think she and Dave write very well together so I had no issue with the album, and it still sounded very "Stevie" to me....which is not surprising, because when you watch the movie you do see moments of her saying to Stewart "No, do it THIS way..." She definitely knows what she wants.

But my guess is some people just really love Nicks as a solo writer and maybe that put them off of IYD. I can say that if she did an entire album of Nicks/Campbell songs, where she wrote no music, *I* probably wouldn't care much for it simply because I think Campbell's music completely lacks the mysticism aspect of Nicks' music.

[PenguinHead]

Originally Posted by tabruns

Well, I think some people just couldn't get past that IYD was largely Stevie as lyricist only. Personally I think she and Dave write very well together so I had no issue with the album, and it still sounded very "Stevie" to me....which is not surprising, because when you watch the movie you do see moments of her saying to Stewart "No, do it THIS way..." She definitely knows what she wants.

But my guess is some people just really love Nicks as a solo writer and maybe that put them off of IYD. I can say that if she did an entire album of Nicks/Campbell songs, where she wrote no music, *I* probably wouldn't care much for it simply because I think Campbell's music completely lacks the mysticism aspect of Nicks' music.

I'm trying to understand your point. Are you saying that Stevie had less influence on the music for this album, as opposed to any other album? I've always believed that her producers are a vital influence to the process of rendering her songs much like Lindsey is with her Fleetwood Mac songs. Dave certainly had a heavy hand in her recent 24 Karat Gold album, with stunning results.

I do understand what you are saying about Mike Campbell. He's been a good supporter to Stevie, but his approach is somewhat generic.

[Christopher]

Rolling Stone Magazine

24 Karat Gold – Songs From the Vault

http://www.rollingstone.com/music/al...vault-20141007

The star rerecords a batch of lost demos from four decades, using Nashville session A-team

BY Will Hermes | October 7, 2014
The title is misleading: Originally written by Nicks between 1969 and 1995, these are new recordings cut with Nashville session pros. But it's an inspired move – after all, Music City pop scientists have cribbed shamelessly from Fleetwood Mac for years. With California expat steel man Dan Dugmore as cultural bridge alongside veteran Laurel Canyon scene guitarist Waddy Wachtel, plus Nicks' longtime backing singers Sharon Celani and Lori Nicks refracting Mac harmonies, Nicks conjures the old black-lace magic and makes it feel new.

Not all the material is top-shelf, and her voice is starting to show its mileage. But Nicks uses it to her advantage. Most convincing: ''Mabel Normand,'' a tribute to a powerhouse silent film star and legendary coke fiend with whom Nicks apparently identifies (go figure). Best flashback: the triple-harmony California dreaming of ''Belle Fleur'' (''Canyon dancing/All night long''). Second-best flashback: ''The Dealer,'' a casino metaphor that – like many songs here – may or may not be about Lindsey Buckingham. Most surprising: ''Cathouse Blues,'' a Dixieland-band bordello strut in which the singer confides, ''I need some new red velvet shoes,'' then purrs, ''I’m still a dreamer's fancy.'' True, that.

From The Archives Issue 1220: October 23, 2014

[KarmaContestant]

Originally Posted by tabruns

But my guess is some people just really love Nicks as a solo writer and maybe that put them off of IYD. I can say that if she did an entire album of Nicks/Campbell songs, where she wrote no music, *I* probably wouldn't care much for it simply because I think Campbell's music completely lacks the mysticism aspect of Nicks' music.

So true, these are among the least interesting Stevie songs.

[tabruns]

Originally Posted by PenguinHead

I'm trying to understand your point. Are you saying that Stevie had less influence on the music for this album, as opposed to any other album? I've always believed that her producers are a vital influence to the process of rendering her songs much like Lindsey is with her Fleetwood Mac songs. Dave certainly had a heavy hand in her recent 24 Karat Gold album, with stunning results.

I do understand what you are saying about Mike Campbell. He's been a good supporter to Stevie, but his approach is somewhat generic.

Just to be clear, I'm saying nothing at all about 24KG. I was talking solely about IYD, and speculating that perhaps some people (not me!) were put off by it because on so many songs Dave Stewart actually wrote the music and not Stevie.

It's not the same as helping her arrange the music, ala what Lindsey and many of her other producers have done. Stewart wasn't just arranging he was writing. The song credits for many tracks were "Words by Nicks, Music by Stewart".

Now again, *I* am not bothered by that, and even though Stewart wrote the music, when you watch the film for IYD you see Nicks is often dictating specifically what she likes and doesn't like about which musical direction he's going in. So to *me*, Nicks actually had a hand in the sound of the music if not enough to get an actual credit for writing the music.

But, maybe some fans were put out that most of the album is with Nicks "purely as lyricist". IYD is actually the Nicks solo album where she wrote the least amount of music, from what I can tell: She has music credit on Secret Love, Soldier's Angel, Moonlight, Annabel Lee. I think that's it, and I believe that's less music that she's written for an album than her other solo albums isn't it?

[sorcerer999]

Originally Posted by tabruns

She has music credit on Secret Love, Soldier's Angel, Moonlight, Annabel Lee. I think that's it?

I don't have the liner notes in front of me, but didn't she also write the music for "New Orleans"? I seem to recall that she had written this song right after Katrina, and even sang a little bit of it to The Nola crowd on the "Unleashed" tour a year before she even decided to record with Dave. I could be wrong.

[bombaysaffires]

Originally Posted by sorcerer999

I don't have the liner notes in front of me, but didn't she also write the music for "New Orleans"? I seem to recall that she had written this song right after Katrina, and even sang a little bit of it to The Nola crowd on the "Unleashed" tour a year before she even decided to record with Dave. I could be wrong.

No, Neale Heywood did. Presumably, like with Mike Campbell and others, he gave her the track and she went off and put the lyrics and melody on it.

[KarmaContestant]

Originally Posted by tabruns

IYD is actually the Nicks solo album where she wrote the least amount of music, from what I can tell: She has music credit on Secret Love, Soldier's Angel, Moonlight, Annabel Lee. I think that's it, and I believe that's less music that she's written for an album than her other solo albums isn't it?

Even moreso than Rock A Little? I can't check now because I'm at work, but I think the only songs on RAL that have a 100% Stevie Nicks credit are Rock A Little, No Spoken Word, HAEWAFY and I Sing For The Things.