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#16
08-04-2012, 06:12 PM
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I love Patty Loveless .She's one of my favorite country singers.Seen her live many times.She did a great cover of SS. Also she did a great cover of Lone Justice's Don't Toss US Away and made it a hit. Patty Loveless Lone Justice
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Skip R........  Stevie fan forever and ever amen.......the Wildheart at Edge of Seventeen and the Gypsy..... My sweet Buttons .I love you. RIP 2009 to 08/24/2016 
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#17
02-09-2013, 09:25 PM
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Chicago Reader
http://www.chicagoreader.com/Bleader...a-record-album 12 O'Clock Track: "The best [Fleetwood Mac] song that never made it to a record album" Posted by Tal Rosenberg on 02.08.13 at 12:00 PM Today I'm going to Los Angeles for a six-day vacation. People associate cities with all sorts of things—memories, dreams, or pieces of art. For whatever reason, I think of Fleetwood Mac when I think of LA. The sound of the music and my impression of LA are inseparable. Like LA, Fleetwood Mac initially gives off a tacky and artificial impression. Their music has glossy surfaces and breezy instrumentation—cleanly recorded acoustic guitars, brushed drums, and silky keyboard parts—it's the kind of music you expect to play in stores where you buy candles and bath products. But those surfaces are deceptive: pay attention to Fleetwood Mac's music and you'll find that it's often quite sophisticated and nuanced; and sometimes, as on 1979's postpunk double album Tusk, (their best album), it can be bizarre. While I'd imagine most people hear FM rock, soft pop, and pop-country, I often hear power-pop, dub, and the art-rock of Brian Eno in a lot of their music (and all those other ostensibly less interesting genres as well). Depending on how you listen to pop music, you either hear lyrics and music separately or simultaneously. Personally, I need to make a connection with the music before I listen to the words. In the case of Fleetwood Mac, it took some time to get over some of my biases against the music. But I think one of the brilliant things about Fleetwood Mac is just how well the music and lyrics work together, because once you internalize the melodies, they suit the lyrics perfectly. There is already at least one, probably two or three more, VH1 specials on Rumours, so I'll spare you the back story. Basically, Fleetwood Mac songs are about breakups and postbreakups—in the case of Rumours it's the latter. And Fleetwood Mac can be an especially masochistic balm when you're just getting over a breakup. It creeps up in unexpected ways: one minute you're just buying shampoo at CVS, the next thing you know "Dreams" is streaming faintly from the ceiling speakers and you're standing in the middle of the store trying not to cry with a bottle of Head & Shoulders in your hand at 11 o'clock at night. LA is a place where people go to escape. The real world can be an ugly place, and a person with a certain type of disposition frowns on Angelenos, who spend their lives in 70-degree-plus weather amid mostly beautiful people. And Fleetwood Mac's music is the sound of people struggling to avoid their problems, the surface of the music the sunny distraction from the shrapnel of narcissism—heartache, drugs, depression, and the people hurt while dealing with all of it. This is the compelling friction in Fleetwood Mac's music, between the illusion of happiness and the reality of emotional trauma. Look no further than "Silver Springs," written by Stevie Nicks for Rumours, which was just reissued in a bountiful four-disc box set. Nicks had written the track, and the band recorded it, but it was cut from the album due to exceeding the accorded length for an LP; it was instead used as a B side for the "Go Your Own Way" single. She was so angry about its exclusion that it became a sore point for years, not seeing an album release until it was re-recorded for The Dance 20 years later. It's not hard to see why Nicks was so incensed: According to the song's Wikipedia page, "Richard Dashut, the engineer and co-producer, called it 'The best song that never made it to a record album.'" On the box set, "Silver Springs" is added as the album's closing track, and it raises the already impressive quality of the album even higher. Slightly ragged, with a serpentine array of guitar parts played by Lindsey Buckingham, it's a midtempo number that exposes the lingering resentment of a destroyed relationship, an attitude that would inform much of Tusk, Rumours's follow-up. Nicks sings, "Time casts a spell on you/But you won't forget me/I know I could have loved you/But you would not let me." The song's protagonist is burned by their former lover, who's moved on, and distance has only inflamed the wounds that should have healed. Bitterness informs music that's otherwise sweet and bright, like the jealousy that seethes beneath the Los Angeles sunshine. For people without Spotify, I've also included a YouTube of the original, but I would pay for Spotify just to have access to the full reissue. Aside from a beautifully remastered version of the original Rumours, the set also includes a full live show and two discs of outtakes, rough cuts, and demos, all of which add new dimensions to this artifact of deeply affecting artifice.
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#19
02-10-2013, 09:21 PM
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#20
02-10-2013, 11:03 PM
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http://www.youtube.com/watch?v=8BglEyv5O2Y
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#21
02-11-2013, 12:50 AM
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The Smashing Pumpkins also covered "Landslide" and took it to #30 US, bringing it to the attention of generation y. I'm sure that's her most covered song, Tori Amos also did it, Bush's Gavin Rossdale, Miley Cyrus, Pat McGee Band.
The Kills, Cat Power, Richie Havens, Whiskeytown, Fleet Foxes' Robin Pecknold, Yo La Tengo and Augustana have covered "Dreams", Lykke Li also did "Silver Springs", Best Coast and Waylon Jennings did "Rhiannon", Marianne Faithfull did "Angel", Julia Holter and Sister Hazel and Karen Elson and Waylon Jennings and Grace Potter have done "Gold Dust Woman", Matt Sweeney and Bonnie Prince Billy did "Storms" together as did Best Coast again, the Goo Goo Dolls did "I Don't Wanna Know", Agnes Chan did "Beautiful Child", Waylon Jennings did "Leather and Lace", Rod Stewart did "Stand Back". My Morning Jacket and Neko Case did "Stop Draggin' My Heart Around" live a few years ago. I guess some of those might be notable depending on what kind of artists you like. Last edited by redbird; 02-11-2013 at 01:12 AM..
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#22
02-11-2013, 02:26 AM
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#25
02-11-2013, 01:26 PM
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Wasn't it Marilyn Martin who did Sorcerer for a movie? Streets of Fire, I think. It was years before Stevie officially released her own version.
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#26
02-11-2013, 04:33 PM
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#27
02-11-2013, 11:37 PM
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#28
02-14-2013, 12:48 PM
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I really don't like many of the old recordings of Silver Springs (not my favorite Stevie Silver Springs voice). Sad but true. Also bugs me that during the early concerts, they always said the song was "going to be on the new album" but we know how that went.
Anyways, I downloaded a link someone here posted recently and there was a 1976 recording of SS that I 'm pretty certain Lindsey sings on. I haven't been doing my best at keeping up with all the Ledge action and posts lately, but I didn't see anyone mention this. Ring a bell to anyone?
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 He asked me for my love And that was all
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#29
02-14-2013, 02:43 PM
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#30
11-13-2013, 09:16 PM
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November 13, 2013
[Before Stevie said IDWTK is not about anything.] http://somethingelsereviews.com/2013...ilver-springs/ ‘It was an incredible seven minutes’: Stevie Nicks untangles the history of Fleetwood Mac’s ‘Silver Springs’ by Something Else! Most Fleetwood Mac fans are familiar with “Silver Springs” as the band’s 1997 comeback single after Stevie Nicks and Lindsey Buckingham returned for the live album The Dance. But it’s got a tangled history. Nicks had originally written the song years before, and hoped to have it included on Fleetwood Mac’s 1977 blockbuster studio effort Rumours. The physical limitations of the old vinyl LP format ended up getting in the way, however. Nicks would learn the news in a fashion that still sticks with her. “I wrote ‘I Don’t Want To Know’ about Lindsey and I,” Nicks tells Classic Rock Society, “and I didn’t want ‘I Don’t Want to Know’ on the record. I wanted ‘Silver Springs’ on the record. Lindsey wanted ‘I Don’t Want to Know’ on the record, and recorded it — without telling me. I went in, and it was recorded, and ‘Silver Springs’ was off. It went off, because it was too long. The version that everybody heard was, like, four minutes and something seconds, but it was really seven minutes. And it was an incredible seven minutes.” An edited studio version was ultimately relegated to the b-side of “Go Your Own Way.” When Fleetwood Mac returned to the song some 20 years later, Nicks’ belief in its was justified. They earned a Grammy for best pop performance for the ’97 live take. “It was too long; ‘I Don’t Want to Know’ was a lot shorter,” Nicks adds. “But the choice to take ‘Silver Springs’ off and put ‘I Don’t Want to Know’ on will go down as the biggest question in history, as to whether that was the right thing to do or not.”
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