new stuff from la nicks?!?!?

[GODDESS6]

http://stevie-nicks.info/
Meanwhile, an updated retrospective titled "The Best of Stevie Nicks" is tentatively scheduled for release on Tuesday, May 24, according to HMV Canada, that country's largest music retailer.

saw this posted on the stevie nicks info site~ now is this gonna b a rerelease of "timespace, the best of stevie nicks", rereleased in canada under HMV? i have an awesome rumours lp box set w/ book, that came from there, is this gonna b like that? or is it gonna b different songs from her career? :shrug: ~ does any1 know? :shrug: ~ hmmmmmmmmm i'm confused :sorry:

[LikeAWillow]

I've heard this is a third greatest hits album, not a rerelease of Timespace. Because we all know that we NEED yet another set of greatest hits over some remasters or dare i say it, a new album.

~Marissa~

[ontheEdgeof17]

I've heard this is a third greatest hits album, not a rerelease of Timespace. Because we all know that we NEED yet another set of greatest hits over some remasters or dare i say it, a new album.

~Marissa~


Well.......Timespace, according to Stevie, wasn't really a GH album (which it turned out to be in my book). A three disc box set, like Enchanted, isn't really for the casual fan. Only the diehards seem to have it...

I wouldn't mind another hits package, but since I am a die hard fan, it kinda sucks cuz I want new material. I think it will still sell good, though.

....And just think, all GH have a couple of new songs on it.

[CreepingDeath]

I really wish this whole Greatest Hits thing was her re-issues. That's the only way I'll be satisfied (other then something new from La Nicks).

[MacMan]

i have an awesome rumours lp box set w/ book, that came from there, is this gonna b like that?

I remember that thing being on sale - at HMV, back in the late 80's or somewhere in there... but the store wasn't called HMV at the time, but ended up turning into HMV after being purchased I suppose.. But I've been kicking myself in the butt ever since for not buying it.

I think HMV just reported the news, it's not a release "under" them. And I looked on the internet for an hmv site, but kept getting re-directed to amazon... so I couldn't confirm [for myself] that this is true.

But I'd welcome another hits package... they usually have new tunes in them, and it could be that they are following how FM did it with the 2cd VBO pack with a new album to follow. Setting the groundwork.

And I just noticed on Daniels site - it says it's a tentative release through Rhino Records. Isn't Rhino a section of Warner, or are they two seperate entities?

[no_spoken_word]

[url]saw this posted on the stevie nicks info site~ now is this gonna b a rerelease of "timespace, the best of stevie nicks", rereleased in canada under HMV? i have an awesome rumours lp box set w/ book, that came from there, is this gonna b like that? or is it gonna b different songs from her career? :shrug: ~ does any1 know? :shrug: ~ hmmmmmmmmm i'm confused :sorry:

Just to clarify, HMV is just a record STORE in Canada (and Britain, Japan, and a few other countries), not a label. They don't actually release anything themselves, just sell stuff.

[BombaySapphire3]

The only thing that would seem to work as a new 'best of' package would be if she could compile the highlights and hits of her solo career and her work with Fleetwood Mac on a 2 disc set and since we know FM is not going to give these up it 's not going to happen.Otherwise it seems redundant and superfluous. On the 2 solo LPs since Timespace there have been no top 40 hits.At least this time I don't think her record company will be able to coerce her into the Norma Desmondish debacle of the two 80's hair band collaborations that marred Timespace which was also tragically unhip since by that lp's release most of these bands were happily blown off the map by the advent of grunge.

[gldstwmn]

The only thing that would seem to work as a new 'best of' package would be if she could compile the highlights and hits of her solo career and her work with Fleetwood Mac on a 2 disc set and since we know FM is not going to give these up it 's not going to happen.

Call me crazy but I bet Silver Springs makes an appearance. :shrug:

[estranged4life]

http://stevie-nicks.info/
Meanwhile, an updated retrospective titled "The Best of Stevie Nicks" is tentatively scheduled for release on Tuesday, May 24, according to HMV Canada, that country's largest music retailer.


I thought read awhile ago that the complete Stevie solo catalog was to receive a new remastering?

[tynan88]

Call me crazy but I bet Silver Springs makes an appearance. :shrug:

That doesn't sound too crazy actually.

[skcin]

I thought read awhile ago that the complete Stevie solo catalog was to receive a new remastering?


We did read this - on Stevie's Q&A on the Nicksfix, I think?

[SuzeQuze]

We did read this - on Stevie's Q&A on the Nicksfix, I think?

Yes, we did see this. :nod: I will take another GH package. I hope she puts at least 2 new songs on it, a booklet with pictures and some prose of hers. That will satisfy me for about 6 mos or so, maybe. :D :laugh:

[ontheEdgeof17]

. I hope she puts at least 2 new songs on it


There has to be at least one....Every Greatest Hits has a new song on it....or close to it. She needs a single from it to promote it. I'm guessing it will be something already recorded....like My Heart or that Angels song she recorded a few autumns back during the SYW Tour break.

[ShangriLaTroubl]

I'm not that music industry savvy, so maybe someone here can help me here...but since Stevie's FM and solo songs are copywrited under Welsh Witch Music, can she not use them wherever she wants ?


Chris

[gldstwmn]

I'm not that music industry savvy, so maybe someone here can help me here...but since Stevie's FM and solo songs are copywrited under Welsh Witch Music, can she not use them wherever she wants ?
Chris

If you notice, all or most of them now say "administered by Sony ATV Music" or some such thing. I am not schooled in such things but believe this to mean that Sony, at least in part owns part of the publishing.

[ShangriLaTroubl]

If you notice, all or most of them now say "administered by Sony ATV Music" or some such thing. I am not schooled in such things but believe this to mean that Sony, at least in part owns part of the publishing.

Yes but does Fleetwood Mac have any rights to the songs written by her?

Chris

[ontheEdgeof17]

Yes but does Fleetwood Mac have any rights to the songs written by her?

Chris


I guess they do.....Remember the Silver Springs turmoil? Stevie couldn't release it on Timespace because Mick wouldn't let it go.

[ShangriLaTroubl]

I guess they do.....Remember the Silver Springs turmoil? Stevie couldn't release it on Timespace because Mick wouldn't let it go.

But I thought that was what sparked her to copywrite Silver Springs under Barbara Nicks Music...have her songs always been under Welch Witch Music, or is that something that occured later on?

Chris

[hayley]

You guys have to understand that there's a difference between owning the rights to a SONG and owning the rights to the RECORDING. Welsh Witch is a publishing entity, through which Stevie owns the rights to basically the lyrics of her songs. It's administered by Sony/ATV which just means that Sony does all the administrative work for a cut of the profits, but Stevie/Welsh Witch still have the right to choose what to do and what not to do with the songs under that banner.

The recording itself is a different matter- generally, whatever record label you record under negotiates or retains the right to those masters. I'm not sure what the particulars are with Stevie's ownership of her solo songs, since most of her albums were released under Modern, her own imprint.

I don't want to confuse anyone- just want to clarify that if there are difficulties getting songs or catalog from another label, it tends to have to do because of the ownership of the masters and the recording, and has nothing to do with Welsh Witch.

[Sorcerer386]

But I thought that was what sparked her to copywrite Silver Springs under Barbara Nicks Music...have her songs always been under Welch Witch Music, or is that something that occured later on?

Chris

I could be way off here if she did this some time after the song was recorded, but I remember her saying that she wanted all the royalties from this song to go to her mother. Something about Stevie knowing her mother would never take money as a gift from Stevie, so she sort of gave Silver Springs as a gift to her mother in which she would get all money from the song, so it was under Barbara Nicks's name. I believe everything has been under Welsh Witch Music as Rhiannon is under that title. Everything she's written herself, that is.

[David]

I believe everything has been under Welsh Witch Music as Rhiannon is under that title. Everything she's written herself, that is.Not in the beginning -- her stuff was published by Rockhopper, & later by Gentoo & Welsh Witch. There was even a Michael Fleetwood publishing entity that had control of "Rhiannon" at the time of the "Live" album. "Silver Springs" was probably initially Gentoo & Welsh Witch, along with "Dreams" & "Gold Dust Woman." Other publishing entities that controlled copyright were Fleetwood Mac Music & Mother of Pearl Music.

[strandinthewind]

THe whole publishing/recording/other rights confuses me. I know Michael Jackson owns or used to own some of La Nicks' rights, though which rights I am unsure.

I would greatly appreciate someone explaining the difference in the various rights.

Here is a hypotheitcal - The Killers want to record a cover of Sisters of the Moon. How do they do that as opposed to just singing it in concert.

HELP :laugh: :laugh:

[dissention]

The Killers want to record a cover of Sisters of the Moon.

:eek:

Christ, you really want to send me to an early grave, my dear. :laugh:

[strandinthewind]

:eek:

Christ, you really want to send me to an early grave, my dear. :laugh:

It was a shout out for poor love starved Ryan, the minor :laugh:

[catinthedark]

Back to the original topic at hand....

I would guess that if she's releasing a GH pack, this is just to fulfill a contractual obligation. That would not bode well for a new album of originals in the near future.

[dissention]

It was a shout out for poor love starved Ryan, the minor :laugh:

:lol:

Gawd, how I despise The Killers...such poseurs.

[blinker12]

You guys have to understand that there's a difference between owning the rights to a SONG and owning the rights to the RECORDING....

Thanks for the explanation, Hayley.
As I recall, at the time of the spat with Mick Fleetwood, Stevie was threatening to re-record "Silver Springs" for Timespace, because he wouldn't let her use the original recording -- a scary thought given the state of her voice in 1991.

[ShangriLaTroubl]

So the question still stands..if Stevie has the songwriting rights, whatever admin with Sony/ATV ...who has the right to the recording itself...the record company or Fleetwood Mac?

Chris

[Johnny Stew]

So the question still stands..if Stevie has the songwriting rights, whatever admin with Sony/ATV ...who has the right to the recording itself...the record company or Fleetwood Mac?In the 'Destiny Rules' doc, Mick says he's happy that they were able to re-sign with Warner Bros., since "they have our back catalog."

So I assume Warners owns the basic rights to the original recordings, and I'm sure that the band has some kind of contractual clause that requires their approval in regards to how the recordings are used.

[Johnny Stew]

THe whole publishing/recording/other rights confuses me. I know Michael Jackson owns or used to own some of La Nicks' rights, though which rights I am unsure.

I would greatly appreciate someone explaining the difference in the various rights.Music Publishing 101 (http://www.easy-song-writing.com/articles/publish.asp)

:D

[riff_Shuffler]

Hi, All!

I am hoping for the new "Best Of" to include the best of the solo stuff, with an emphasis on the singles, including (especially) the recent, post-Timespace songs. The single version of "If You Ever Did Believe," the singles from Trouble In Shangri-La, and 2-3 new songs. "My Heart" could really work as the single, especially due to the content of the lyrics - Stevie *just* coming off of a FM tour with Lindsey (assuming that the lyrics are about him, lol)....

I am also kind of hoping that the new collection speaks of Stevie's legacy. For example, the most iconic songs, such as "Edge of Seventeen" and "Stand Back," as well as songs that reflect her as the artist and female rock star that she is - "After The Glitter Fades," and "Rose Garden" for example. I know, it sounds like the Enchanted boxed set -- but this could end up in many more hands (and CD players) than Enchanted (and include the recent stuff as well). My 2 cents, anyway! ;)

Josh :wavey:

[Johnny Stew]

I am hoping for the new "Best Of" to include the best of the solo stuff, with an emphasis on the singles, including (especially) the recent, post-Timespace songs. The single version of "If You Ever Did Believe," the singles from Trouble In Shangri-La, and 2-3 new songs.

I am also kind of hoping that the new collection speaks of Stevie's legacy. For example, the most iconic songs, such as "Edge of Seventeen" and "Stand Back," as well as songs that reflect her as the artist and female rock star that she is - "After The Glitter Fades," and "Rose Garden" for example.Excellent perspective on it, Joshua. :xoxo:

'Timespace'... as much as I love it... seems very "decadent '80s." Mainly because of the vibe the new songs create.
It would be nice to see, as you said, a set that speaks more to Stevie's legacy as a thoughtful singer/songwriter.

'Enchanted' sold well, but a new 1-disc compilation (or even a bargain-priced 2-disc set) has the potential to reach a far larger audience. :nod:

[Kelly]

So could someone, perhaps Hayley, clarify if Silver Springs could be used by Stevie on her new GH album? Do I understand it correctly, that she would either have to have Mick's permission to use a recording of SS with the entire band or she would have to rerecord it herself, with a new band? Frankly, I am not too thrilled at the idea of her rerecording Silver Springs without Lindsey. After the Dance, many fans associated the song with their live performance, the dynamic between them. Something I do not think she could even begin to recapture alone.


Considering this new GH album is supposed to be a retrospective of her solo career, I would rather SS not be on it. She has sooo many gems from her solo career that she could include instead. As a big fan of MY HEART....I am liking the idea of that as the lead off single. Whoooot.

[riff_Shuffler]

Excellent perspective on it, Joshua. :xoxo:

'Timespace'... as much as I love it... seems very "decadent '80s." Mainly because of the vibe the new songs create.
It would be nice to see, as you said, a set that speaks more to Stevie's legacy as a thoughtful singer/songwriter.

'Enchanted' sold well, but a new 1-disc compilation (or even a bargain-priced 2-disc set) has the potential to reach a far larger audience. :nod:

That is a *great* description of how the Timespace album feels, Brian! :xoxo: It does have a definite dated feel to it.

As long as the new "Best Of" has a couple (or more!) new songs/old demos/old demos made new - I will be a happy camper!!

Josh :wavey:

[dissention]

There has to be at least one....Every Greatest Hits has a new song on it....or close to it.

VBOFM didn't have one, I don't think a new Stevie one would be any different. I think this is something along the lines of The Divine Stevie Nicks disc that came out a few years ago and I doubt that Stevie is very involved with it; it reeks of something her record company is putting out.

[cliffdweller]

You guys have to understand that there's a difference between owning the rights to a SONG and owning the rights to the RECORDING. Welsh Witch is a publishing entity, through which Stevie owns the rights to basically the lyrics of her songs. It's administered by Sony/ATV which just means that Sony does all the administrative work for a cut of the profits, but Stevie/Welsh Witch still have the right to choose what to do and what not to do with the songs under that banner.

The recording itself is a different matter- generally, whatever record label you record under negotiates or retains the right to those masters. I'm not sure what the particulars are with Stevie's ownership of her solo songs, since most of her albums were released under Modern, her own imprint.

I don't want to confuse anyone- just want to clarify that if there are difficulties getting songs or catalog from another label, it tends to have to do because of the ownership of the masters and the recording, and has nothing to do with Welsh Witch.

So by that logic, her record company could sell recordings of her songs to, say, Pepsi :laugh: without Stevie's knowledge or approval even though she owns the rights to the lyrics? I'm confusitron. :]

[catinthedark]

VBOFM didn't have one, I don't think a new Stevie one would be any different. I think this is something along the lines of The Divine Stevie Nicks disc that came out a few years ago and I doubt that Stevie is very involved with it; it reeks of something her record company is putting out.

I am tending to agree with Diss here (mark the date on the calendar!! :laugh: ). I really think this is a means to meet a contractual end. Which makes me concerned that if she has just one more album in her contract, that demand is being met with this GH package as opposed to a collection of new songs. I hope I'm wrong. I also just cannot see why Stevie Nicks needs another GH package. I don't think there's anything to add to TimeSpace - I wouldn't want ot expect to see any FM material on a solo collection; and Enchanted was her version of a "Very Best of..." package. She picked what made it, and they certainly weren't just hits.

Just rambling thoughts here... but the whole Henley-Nicks tour and the talk of this greatest hits thing has me feeling a little pessimistic about ever getting a CD of new material from Stevie again. :(

[estranged4life]

Just rambling thoughts here... but the whole Henley-Nicks tour and the talk of this greatest hits thing has me feeling a little pessimistic about ever getting a CD of new material from Stevie again. :(

I emailed my Bruce Springsteen trade lovin' female buddy in CA whose sister works for Warner Reprise, And she said there's no news of any new Fleetwood Mac or Stevie Nicks material to report...Everything is as it was last summer/fall.

[Johnny Stew]

I emailed my Bruce Springsteen trade lovin' female buddy in CA whose sister works for Warner Reprise, And she said there's no news of any new Fleetwood Mac or Stevie Nicks material to report...Everything is as it was last summer/fall."No new material" as in absolutely no upcoming releases whatsoever, or just that they haven't recorded any brand new songs?

In other words, I'm wondering if the phrasing "no new material" applies to remasters and such, too.

By the way, I see a lot of people stating their fear that there won't be any new Stevie albums in the future. But barring, God forbid, a fatality, I just can't imagine Stevie no longer recording.

Maybe she'll make a lot of people around here very happy (if that's even possible! ;) ) and switch over to a small label, like Sanctuary, once her Warner Bros. contract is fulfilled.
Christine and Mick are already there. Wouldn't it be interesting to see Stevie and Lindsey move over there as well?

[David]

Maybe she'll make a lot of people around here very happy (if that's even possible! ;) ) and switch over to a small label, like Sanctuary, once her Warner Bros. contract is fulfilled. Christine and Mick are already there. Wouldn't it be interesting to see Stevie and Lindsey move over there as well?That's what I think will happen.

[estranged4life]

"No new material" as in absolutely no upcoming releases whatsoever, or just that they haven't recorded any brand new songs?

In other words, I'm wondering if the phrasing "no new material" applies to remasters and such, too.



see Sanctuary in the picture for either a possible Fleetwood Mac release (Remember Mick's manager is a partner in Sanctuary) or Stevie solo release very soon...

Plus an online report I read awhile back on Warner dismantling their record labels had Warners dumping a lot of 'viable artists' or moving 'em to other subsidiary of the whole parent company such as Metallica now being on Warner Bros. instead of Elektra after their re-upping upon the completion of their last contract (This report that I read occurred before the Warner buyout by private investors...So who knows how FM/Stevie's situation with Warner/Reprise will now be).

[blinker12]

see Sanctuary in the picture for either a possible Fleetwood Mac release (Remember Mick's manager is a partner in Sanctuary) or Stevie solo release very soon...

Me either. I think it would be too big a blow to Stevie's ego to be on a small label like Sanctuary -- and she still sells enough to stay on a major.

[diamondsnake]

I think they need to add Blue Denim, If You Ever Did Beleive, Everyday, and Planets of the Universe to Timespace. Get rid of the three original Timespace songs and add a couple new ones (including My Heart).

I'd be happy with that for a month or so but I really want a brand new album that I can really sink my teeth into!

[ShangriLaTroubl]

ok i HAVE to do it..lol i gotta list my track list for a 2 cd Very best of Stevie set...lol

disc 1

1. Stop Draggin my Heart Around
2. Stand Back
3. How Still my Love
4. After the Glitter Fades
5. If you ever Did Believe
6. -new song-
7. Planets of the Universe
8. Talk to Me
9. I Can't Wait
10. Fall from Grace
11. Twisted
12. -unreleased demo-
13. -new song-
14. Rock a Little
15. Enchanted (live 1998)
16. Beauty and the Beast

Disc 2

1. Every Day
2. Leather and Lace
3. Kind of Woman
4. Rooms on Fire
5. Blue Denim
6. Crystal (from PM soundtrack)
7. -new song-
8. Insider
9. Blue Lamp
10. Whole Lotta Trouble
11. Sometimes it's a Bitch
12. Maybe Love will Change your Mind
13. Edge of Seventeen
14. If Anyone Falls
15. Nightbird
16. Has Anyone Ever Written Anything for You?

[Johnny Stew]

Me either. I think it would be too big a blow to Stevie's ego to be on a small label like Sanctuary -- and she still sells enough to stay on a major.Modern was just a small little imprint when Stevie was with them. In fact, she was basically their single most successful artist.

I don't think she'd have any problem whatsoever being a big fish in a small pond. In fact, she'd probably prefer it. :)

Stevie, Lindsey, et al., would be treated by Sanctuary like royalty, in much the same way they were treated by Warner/Reprise in the late '70s and '80s. :nod:

[dissention]

Modern was just a small little imprint when Stevie was with them. In fact, she was basically their single most successful artist.

Yeah, but it was essentially created for her. :laugh:

I don't think she'd have any problem whatsoever being a big fish in a small pond. In fact, she'd probably prefer it. :)

Stevie, Lindsey, et al., would be treated by Sanctuary like royalty, in much the same way they were treated by Warner/Reprise in the late '70s and '80s. :nod:

I wouldn't exactly say that. Sanctuary has quite the track record for minimizing costs and making very sizable profits, and by minimizing costs, they don't do much promotion at all when it comes to their artists; not even the big ones. I know I was positively astounded when they did TV commercials for Blondie's "Live By Request" CD and DVD. While I'm sure they'd be treated like royalty behind the scenes during the making of any sort of album, I doubt that Stevie or the Mac would like the lack of marketing blitzes or the lack of huge advances. As much as I wish Lindsey would go to Sanctuary, he seems to be quite the snob, so...:laugh:

[strandinthewind]

. . . he seems to be quite the snob, so...:laugh: in his two bedroom apt. :rolleyes: :wavey: :wavey:

I just could not resist :cool:

[cliffdweller]

in his two bedroom apt. :rolleyes: :wavey: :wavey:

I just could not resist :cool:

:laugh: :laugh: yeah, Lindsey couldn't even fit half his recording equipment into a two bedroom apartment!

[dissention]

in his two bedroom apt. :rolleyes: :wavey: :wavey:

I just could not resist :cool:

:lol::lol::lol:

So true, dear.

[blinker12]

Originally Posted by Johnny Stew
Modern was just a small little imprint when Stevie was with them. In fact, she was basically their single most successful artist.

Originally Posted by dissention
Yeah, but it was essentially created for her. :laugh:

Also, her Modern releases were distributed by Atlantic... so in effect, Modern was a major label. Sanctuary does its own distribution, as far as I know.

[Johnny Stew]

Yeah, but it was essentially created for her. :laugh:True, of course. I just meant that she wasn't their only artist (not even the first artist to release an album through them) and it was a small subsidiary label.

I wouldn't exactly say that. Sanctuary has quite the track record for minimizing costs and making very sizable profits, and by minimizing costs, they don't do much promotion at all when it comes to their artists; not even the big ones. I know I was positively astounded when they did TV commercials for Blondie's "Live By Request" CD and DVD. While I'm sure they'd be treated like royalty behind the scenes during the making of any sort of album, I doubt that Stevie or the Mac would like the lack of marketing blitzes or the lack of huge advances. As much as I wish Lindsey would go to Sanctuary, he seems to be quite the snob, so...:laugh:I wasn't equating how I think they'd be treated, to the amount of promotion and marketing they'd receive.

I just think Sanctuary would tend to regard Fleetwood Mac as a pretty big asset to their label... the way Warner Bros seemed to in the late '70s and '80s.

So it was definitely "behind the scenes," as you mentioned, that I was referring to. :nod: :)

I don't know about the lack of huge advances, but Stevie probably wouldn't mind the lack of a marketing blitz... too much.
I remember when 'Street Angel' was just about to be released, one of the Modern/Atlantic bigwigs (Val Azolli, perhaps), said "You don't have to do a lot to promote a Stevie Nicks album. You just do a beautiful video and get the word out there, and it sells itself."

So I think Stevie might be a little used to the "the product will sell itself" treatment. :)
I'm not thinking she'd go for NO promotion, but she'd probably be willing to go for promotion on a smaller scale.

[Johnny Stew]

Also, her Modern releases were distributed by Atlantic... so in effect, Modern was a major label. Sanctuary does its own distribution, as far as I know.I *believe* Sanctuary is distributed by BMG (at least in the States), but I'm not 100% sure on that.

[David]

I just think Sanctuary would tend to regard Fleetwood Mac as a pretty big asset to their label... the way Warner Bros seemed to in the late '70s and '80s. So it was definitely "behind the scenes," as you mentioned, that I was referring to.I doubt you'd see a repeat of that embarrassing scene in "Destiny Rules" in which three or four record execs, who clearly wish they were elsewhere, drop by the studio to listen to the work-in-progress (in which they pretend mightily to have an interest), while members of Mac, who clearly wish the execs were elsewhere too, nervously make small-talk & tap their feet at the mixing console.

It's like your supervisor at work pretending to be your best friend for the day, when both you & he know that he's watching your productivity & performance & taking that info back to the boss.

[dissention]

I *believe* Sanctuary is distributed by BMG (at least in the States), but I'm not 100% sure on that.

Yup. :wavey:

[dissention]

I wasn't equating how I think they'd be treated, to the amount of promotion and marketing they'd receive.

I just think Sanctuary would tend to regard Fleetwood Mac as a pretty big asset to their label... the way Warner Bros seemed to in the late '70s and '80s.

So it was definitely "behind the scenes," as you mentioned, that I was referring to. :nod: :)

I doubt that they would be treated much differently asset-wise than the other artists they currently have on their label, especially considering that Fleetwood Mac doesn't sell that many new records these days. They've already got Mary J. Blige, Neil Young, Morrissey, Robert Plant, Blondie, etc, under their belt. I think they'd be treated about as equally when it comes to the amount of money to be made on studio albums. :nod:

I don't know about the lack of huge advances, but Stevie probably wouldn't mind the lack of a marketing blitz... too much.
I remember when 'Street Angel' was just about to be released, one of the Modern/Atlantic bigwigs (Val Azolli, perhaps), said "You don't have to do a lot to promote a Stevie Nicks album. You just do a beautiful video and get the word out there, and it sells itself."

I think that was more wishful thinking on their part than anything. ;)

And where's that beautiful video?!

So I think Stevie might be a little used to the "the product will sell itself" treatment. :)
I'm not thinking she'd go for NO promotion, but she'd probably be willing to go for promotion on a smaller scale.

I don't think so. She promoted the hell out of TISL and without all of that promotion, I don't think it would have sold nearly as much. She struck gold when she teamed up with VH1 for the presale and audio streams. Personally, I just imagine Stevie being aghast at the lack of promotion a label like Sanctuary would give her. Sure, she'd be promoted, but not on the grand scale that Warner Bros. would.

[strandinthewind]

I don't think so. She promoted the hell out of TISL and without all of that promotion, I don't think it would have sold nearly as much. She struck gold when she teamed up with VH1 for the presale and audio streams. Personally, I just imagine Stevie being aghast at the lack of promotion a label like Sanctuary would give her. Sure, she'd be promoted, but not on the grand scale that Warner Bros. would.

But, Stevie is in a position to promote herself if they will not. I mean Leno, Leterman, and the rest of that ilk would all book her in a minute :shrug: - she could take out ads in the mags (though it is hard to believe Sanct. would not pay for at least that :shrug: ) - she would get reviewed by all the major mags as well as the trade periodicals just by the sheer nature of she is La Nicks and I can see People, US, Vanity Fair, etc. all wanting to interview her in some capacity. So, I think promotion from the publicity angle would not be the issue.

[Serrart]

But, Stevie is in a position to promote herself if they will not. I mean Leno, Leterman, and the rest of that ilk would all book her in a minute :shrug: - she could take out ads in the mags (though it is hard to believe Sanct. would not pay for at least that :shrug: ) - she would get reviewed by all the major mags as well as the trade periodicals just by the sheer nature of she is La Nicks and I can see People, US, Vanity Fair, etc. all wanting to interview her in some capacity. So, I think promotion from the publicity angle would not be the issue.

Definitely, she could have the best of both worlds, Stevie rules. :D Said that, she can go to any label she wants, even if I really doubt Warner wouldn't be available to reschedule in Stevie time her solo release. Majors need to produce some respectable artists to cover all the trash they sell to the teens. :nod:

Romy

[dissention]

But, Stevie is in a position to promote herself if they will not. I mean Leno, Leterman, and the rest of that ilk would all book her in a minute :shrug: - she could take out ads in the mags (though it is hard to believe Sanct. would not pay for at least that :shrug: ) - she would get reviewed by all the major mags as well as the trade periodicals just by the sheer nature of she is La Nicks and I can see People, US, Vanity Fair, etc. all wanting to interview her in some capacity. So, I think promotion from the publicity angle would not be the issue.

Personally, I think the point of promotion is actually pretty moot because Stevie is never going to have another platinum record or another record that sets the charts afire.

[ShangriLaTroubl]

Personally, I think the point of promotion is actually pretty moot because Stevie is never going to have another platinum record or another record that sets the charts afire.


I really don't think it's safe to just assume that..Plenty of artists have hit records in old age...Rod Stewart, Cher, Johnny Cash and plenty of country singers..I don't think it's impossible, if done right on Stevie's part as well as whatever record company

Chris

[dissention]

I really don't think it's safe to just assume that..Plenty of artists have hit records in old age...Rod Stewart, Cher, Johnny Cash and plenty of country singers..I don't think it's impossible, if done right on Stevie's part as well as whatever record company

Chris

Those artists are pretty different from Stevie, though. Stewart jumped onto the standards bandwagon and that's a formula that currently popular. Cher's comeback was due in large part to making music that was currently hip and doing it good, i.e. she didn't sound like a fiftysomething diva. Johnny Cash...he's just the man. :laugh: Cash had a hit based on his last video alone. It was so good that MTV and VH1 played it. Stevie would really have to cater to what's popular or come up with something very original and striking to get people talking.

[ShangriLaTroubl]

How does U2 and Aerosmith always continue to do it? They pretty much keep to their old styles? I dunno, Eric Clapton has done it without changing much...

She needs to really do something to catch peoples' eye..and of course "Every Day" was not that nor was "Sorcerer." But I think that any good solid album she does with a lot of promotion, and ACTUAL radio airplay could give her a hit...so how do you get airplay? Certainly not by writing good songs...but somehow they have to let EVERYONE KNOW "HEY STEVIE NICKS HAS A NEW ALBUM!"

It's like when you have people coming to the Fleetwood Mac show and don't even know they have a new CD out till they get to the merchandise stand --- I think you have a promotion problem

Chris

[dissention]

How does U2 and Aerosmith always continue to do it? They pretty much keep to their old styles? I dunno, Eric Clapton has done it without changing much...

Aerosmith and U2 never really lost too much in the way of popularity (Aerosmith did for awhile but then kids, of all people, rediscovered them) because they've always been able to reach the young crowds. :shrug: U2, especially, became untouchable after 9/11. They'll sell tons of records until they die. Eric Clapton doesn't sell millions of records anymore, but he's a legend in the eyes of most middle-aged people who grew up listening to his music.

She needs to really do something to catch peoples' eye..and of course "Every Day" was not that nor was "Sorcerer." But I think that any good solid album she does with a lot of promotion, and ACTUAL radio airplay could give her a hit...so how do you get airplay? Certainly not by writing good songs...but somehow they have to let EVERYONE KNOW "HEY STEVIE NICKS HAS A NEW ALBUM!"

It's like when you have people coming to the Fleetwood Mac show and don't even know they have a new CD out till they get to the merchandise stand --- I think you have a promotion problem

Chris

You get airplay by not making AC crap that caters to one particular audience that doesn't buy that many records. You get airplay by not releasing stuff like Every Day as a single. You have to be aggressive. Unfortunately, I think Stevie is at the point where she could record a killer tune but radio won't give her a chance because of the kind of stuff she's been putting out for so long now.

[ShangriLaTroubl]

I think you're right Dissention about radio not even giving it a chance anymore. I even remember calling a station in 2001 asking them to play "Planets," and they said "yeah we have it around here somewhere, had for a couple of weeks, havent even listened to it yet...I'll listen to it, and then we might play it, you never know dude"

So I guess she should just make albums and do what she does..enjoy it..and let Warners or whoever do what they want

Chris

[Moony]

Personally, I think the point of promotion is actually pretty moot because Stevie is never going to have another platinum record or another record that sets the charts afire.
:nod: It's kind of sad, but he speaks the truth. I don't think Stevie will ever have a "killer radio tune" again either.. :(

[amber]

:nod: It's kind of sad, but he speaks the truth. I don't think Stevie will ever have a "killer radio tune" again either.. :(
I think it's because of her voice... :(

[skcin]

:nod: It's kind of sad, but he speaks the truth. I don't think Stevie will ever have a "killer radio tune" again either.. :(


Well, Cyndi Lauper & Pat Benatar probably won't either, but they're still making music (good music, might I ad) and touring for their fans. Nothing wrong with continuing to work even though you may never have a big "hit" again.

[gldstwmn]

Aerosmith never really lost too much in the way of popularity (Aerosmith did for awhile but then kids, of all people, rediscovered them) because they've always been able to reach the young crowds.

Power ballads. :nod:

[dissention]

Power ballads. :nod:

*shudders*

The two worst words in the American language. :laugh:

[amber]

Power ballads. :nod:
:laugh:
yep - but stevie can't do one...her voice is too strange, now. (now?) Sadly, some people just will never like the quality of her voice. A lot of people, probably... :distress:

[dissention]

Well, Cyndi Lauper & Pat Benatar probably won't either, but they're still making music (good music, might I ad) and touring for their fans. Nothing wrong with continuing to work even though you may never have a big "hit" again.

I agree. :woohoo:

Lauper had her biggest hit since the 80s with At Last, though. :nod: I'm not sure if it's been certified platinum, but that goddamned album was all over the freakin' place. :laugh: You couldn't get away from it.

[blinker12]

They've already got Mary J. Blige, Neil Young, Morrissey, Robert Plant, Blondie, etc, under their belt. I think they'd be treated about as equally when it comes to the amount of money to be made on studio albums. :nod:

I stand corrected on Sanctuary... I didn't realize they were distributed by BMG and had all those artists. I thought they were much smaller.
But yeah, it seems the main point is that they wouldn't promote nearly as much as Atlantic/Reprise/Warners... and I feel that at this point, Stevie expects the "royal treatment" from a label. Though I wish she would go smaller-scale and record something really intimate and not overproduced.

[amber]

I stand corrected on Sanctuary... I didn't realize they were distributed by BMG and had all those artists. I thought they were much smaller.
But yeah, it seems the main point is that they wouldn't promote nearly as much as Atlantic/Reprise/Warners... and I feel that at this point, Stevie expects the "royal treatment" from a label. Though I wish she would go smaller-scale and record something really intimate and not overproduced.
:nod: :nod:
It's hard to believe, and I hope she doesn't expect "royal treatment" but I suspect she does. Although, conversely, it seems to me she has enough money, etc, to where she could take a hit on the "treatment" and just get some good exposure and a good album. But I don't know how much is her agent, and how much is her... :shrug:

[blinker12]

So I guess she should just make albums and do what she does..enjoy it..and let Warners or whoever do what they want
Chris

Exactly. I think she worries too much about having a hit. And others around her reinforce that, like Sheryl Crow. Didn't Crow say while recording TISL, "We need to get you on the radio"? That seems like a really stifling mindset under which to create music. It makes for stuff that sounds calculated and "of its time" -- stuff like "Talk to Me" and "Every Day" -- and not stuff that will truly last.

[Johnny Stew]

I doubt that they would be treated much differently asset-wise than the other artists they currently have on their label, especially considering that Fleetwood Mac doesn't sell that many new records these days. They've already got Mary J. Blige, Neil Young, Morrissey, Robert Plant, Blondie, etc, under their belt. I think they'd be treated about as equally when it comes to the amount of money to be made on studio albums. :nod:I think we're coming at it from two different points of view concerning the "royal treatment."

I'm just meaning that I think Sanctuary would regard Fleetwood Mac in a higher esteem than Warner Bros. seems to these days... in the ways David already expressed: allowing the band to create on their own terms without a swarm of "suits" analyzing the music, debating its selling potential, and making suggestions for changes, etc.

And where's that beautiful video?!Sure wasn't "Blue Denim!" :laugh:
Stevie looked beautiful in it, but the video itself was nothing special.

Allegedly there was a video filmed in 1993 for "Unconditional Love" though... so maybe that was the "beautiful video." :shrug:

I don't think so. She promoted the hell out of TISL and without all of that promotion, I don't think it would have sold nearly as much. She struck gold when she teamed up with VH1 for the presale and audio streams. Personally, I just imagine Stevie being aghast at the lack of promotion a label like Sanctuary would give her. Sure, she'd be promoted, but not on the grand scale that Warner Bros. would.She could still allign with the likes of VH1 for additional promotion... she wouldn't need the backing of Warner Bros. to do something like that.

Basically, I just feel that Stevie moving over to Sanctuary isn't beyond the realm of possiblity. :)

[ShangriLaTroubl]

Stevie looked beautiful in it, but the video itself was nothing special.


She did?????

Chris

[ShangriLaTroubl]

:nod: :nod:
It's hard to believe, and I hope she doesn't expect "royal treatment" but I suspect she does. Although, conversely, it seems to me she has enough money, etc, to where she could take a hit on the "treatment" and just get some good exposure and a good album. But I don't know how much is her agent, and how much is her... :shrug:

You know really I'm sure she has enough money to start her own record label..maybe her and Lindsey could start one together, I think that would be a great idea at this point in her career.


Chris

[strandinthewind]

Personally, I think the point of promotion is actually pretty moot because Stevie is never going to have another platinum record or another record that sets the charts afire.

They said that about Cher and then "Believe" struck in a big way :shrug:

But, they have to promote it for it to sell at all.

[David]

:nod: It's kind of sad, but he speaks the truth. I don't think Stevie will ever have a "killer radio tune" again either.. :(It seems unlikely -- unless it's as a backup or duet with some hot young thing.

That's why I always think all this stuff about promotion is moot. Most of these Stevie & Fleetwood Mac releases are promoted: they show up on talk shows, give interviews, make videos, etc., but none of that activity is worth much. You know, people tune in to their morning news shows & watch Fleetwood Mac shiver their bums off in Manhattan while they play four or five songs, but the viewers don't jump online at Amazon just because Fleetwood Mac is on their boob tube.

I don't think older, widely known bands like Fleetwood Mac need promotion anyway; I think they all have their fan base, & those are the album sales. Stevie Nicks has about a million people in the United States who think of themselves as big fans of hers & who buy her stuff as well as the Fleetwood Mac stuff. That seems to me a pretty good explanation for why Shangri-La sold about what Say You Will did. They both sold about a million, or not quite a million. The four million behind "The Dance" must have been just a bandwagon that all the yups jumped on -- all the fans of Dave what's-his-name who was so big in the late '90s & other acts who were adult-contemporary & who generated a big block of buyers for that sort of fare. "The Dance" is history; those buyers have long since moved on -- to what, I don't know, because I don't listen to commercial radio. But it's the Stevie Nicks fans who bought Shangri-La & Say You Will. The rest of the world really isn't interested (although, paradoxically, they're still interested in going to a Fleetwood Mac rock concert, but that's just a fun night out with wife & beer, & doesn't signify anything else).

So that's why I think promotion is moot. If you're 25 & breaking, it's important. But if you're 55 & just a back-catalog artist with an aging fan base, why do you need it -- especially when radio doesn't want your new stuff? All you need is a label that leaves you alone, for the most part, & lets you take whatever chances you want to take.

[dissention]

They said that about Cher and then "Believe" struck in a big way :shrug:

Just look at why it was a big hit. :shrug: Stevie's never going to cater to what's hip, she doesn't have it in her. The record-buying public loves to give classic artists comebacks, but after the one comeback is given to them, everyhting after it just falls by the wayside. Stevie had hers with The Dance. Cher had hers with Believe. Blondie had theirs with No Exit. The Eagles had theirs with Hell Freezes Over. You only get one shot, traditionally.

[strandinthewind]

How does U2 and Aerosmith always continue to do it? They pretty much keep to their old styles? I dunno, Eric Clapton has done it without changing much...

She needs to really do something to catch peoples' eye..and of course "Every Day" was not that nor was "Sorcerer." But I think that any good solid album she does with a lot of promotion, and ACTUAL radio airplay could give her a hit...so how do you get airplay? Certainly not by writing good songs...but somehow they have to let EVERYONE KNOW "HEY STEVIE NICKS HAS A NEW ALBUM!"

It's like when you have people coming to the Fleetwood Mac show and don't even know they have a new CD out till they get to the merchandise stand --- I think you have a promotion problem

Chris

See, I disagree a little here (respectfully of course :wavey: ) - Everyday, POTU, and Sorcerer initially got plenty of airplay in Atlanta which is a major market. Interestingly, so did "If You Ever Did Believe." They also got airtime in my smallish hometown in Louisiana and I remember hearing them on the radio in New Yor City. I think the songs were good and the exposure was there but they just did not catch on - sadly so IMO.

[David]

They said that about Cher and then "Believe" struck in a big way :shrug:But that song got picked up by radio DJs who played it all day long. Plus, clubs probably just fell in love with it because, after all, it was a superb specimen of "club track."

The sales of "Believe" weren't a response to the promotion (I don't even remember seeing Cher around at that time) but to hearing the song over & over again on the radio.

The only Fleetwood Mac songs you hear that frequently are the back-catalog tracks -- that's undoubtedly what keeps people at their shows.

[strandinthewind]

Just look at why it was a big hit. :shrug: Stevie's never going to cater to what's hip, she doesn't have it in her.

But, nothing really sounded like Believe before it was released :shrug: Cher was a little bit of pioneer there IMO. I think La Nicks could hit big with a ballad a la Landslide. That is what people want to see her do IMO.

[ontheEdgeof17]

Just look at why it was a big hit. :shrug: Stevie's never going to cater to what's hip, she doesn't have it in her.


I think EFO was a try to 'cater what's hip'. It's very similar to Believe.

[dissention]

But that song got picked up by radio DJs who played it all day long. Plus, clubs probably just fell in love with it because, after all, it was a superb specimen of "club track."

The sales of "Believe" weren't a response to the promotion (I don't even remember seeing Cher around at that time) but to hearing the song over & over again on the radio.

The only Fleetwood Mac songs you hear that frequently are the back-catalog tracks -- that's undoubtedly what keeps people at their shows.

Exactly. A lot of people didn't even know it was a Cher song, either.

[strandinthewind]

But that song got picked up by radio DJs who played it all day long. Plus, clubs probably just fell in love with it because, after all, it was a superb specimen of "club track."

The sales of "Believe" weren't a response to the promotion (I don't even remember seeing Cher around at that time) but to hearing the song over & over again on the radio.

The only Fleetwood Mac songs you hear that frequently are the back-catalog tracks -- that's undoubtedly what keeps people at their shows.

I agree. Interestingly, Stevie dance remixes of POTU received HUGE club airplay for years. So, the market is there as long as she gets a hip DJ to do it.

[strandinthewind]

I agree. :woohoo:

Lauper had her biggest hit since the 80s with At Last, though. :nod: I'm not sure if it's been certified platinum, but that goddamned album was all over the freakin' place. :laugh: You couldn't get away from it.

I have to say I have it and did not like it all that much - though I do like it. Though I LOVE her, she sometimes does strange things with her voice that kind of grate on me.

[dissention]

But, nothing really sounded like Believe before it was released :shrug: Cher was a little bit of pioneer there IMO. I think La Nicks could hit big with a ballad a la Landslide. That is what people want to see her do IMO.

It's simply unrealistic to think that a Stevie Nicks ballad would be a hit these days. If she's going to have a hit, she needs to do something that's jarring and surprising, something that will get picked up by radio because of that.

[David]

See, I disagree a little here (respectfully of course :wavey: ) - Everyday, POTU, and Sorcerer initially got plenty of airplay in Atlanta which is a major market.Well, that's very weird, strand, because even though I don't listen to commercial radio, I still can't believe that new Stevie or new Fleetwood is requested by such a large number of listeners as to force stations to play it constantly. Are you saying that's what happened in Atlanta? So many thousands of listeners compelled the stations to put those songs on their playlists, cranking them over the airwaves dozens of times per day?
Interestingly, so did "If You Ever Did Believe." They also got airtime in my smallish hometown in Louisiana and I remember hearing them on the radio in New Yor City. I think the songs were good and the exposure was there but they just did not catch on - sadly so IMO.Wait a second. Saying something "got airtime" is not quite the same thing as saying something is a big hit on the radio. It's not the former but the latter that sells albums.

"Catching on" is exactly what happens when you get a big hit on the radio. New Stevie & new Fleetwood doesn't do that ... not even in Atlanta. ;)

[ontheEdgeof17]

It's simply unrealistic to think that a Stevie Nicks ballad would be a hit these days. If she's going to have a hit, she needs to do something that's jarring and surprising, something that will get picked up by radio because of that.


I think EFO had great potential. However, her vocals should have been more intense and on target and it should have been a Stevie Nicks song and not a Fleetwood Mac song. It would have been a great first single out of the gate. :shrug:

[strandinthewind]

I was responding to the comment that Stevie needs to get on the radio by saying those songs got airplay when they came out - they were given a chance to be hits - they were not wholly ignored by radio, etc. They did not, however, hit, with the exception of the dance remixes of POTU. So, I do not think getting on the radio is the problem. I think it is the lack on interest by the public, etc.

[David]

I agree. Interestingly, Stevie dance remixes of POTU received HUGE club airplay for years.Yes, but that's a niche market. That's why Billboard has a separate chart for it, wouldn't you think? Some kids go to clubs, but most kids don't, or don't go often. Planets is a perfect example of something that gets a momentary blaze of popularity within that niche, but that still doesn't generate additional sales in substantial numbers of the album it comes from.

Stevie's fans bought about one million Shangri-La albums. What percentage of them regularly go clubbing? The majority? No way.

[dissention]

I think EFO had great potential. However, her vocals should have been more intense and on target and it should have been a Stevie Nicks song and not a Fleetwood Mac song. It would have been a great first single out of the gate. :shrug:

I don't think so. Classic rock stations would have balked at playing that type of song. What she needs to do, in my opinion, is go back to rock. :)

[strandinthewind]

Yes, but that's a niche market. That's why Billboard has a separate chart for it, wouldn't you think? Some kids go to clubs, but most kids don't, or don't go often. Planets is a perfect example of something that gets a momentary blaze of popularity within that niche, but that still doesn't generate additional sales in substantial numbers of the album it comes from.

Stevie's fans bought about one million Shangri-La albums. What percentage of them regularly go clubbing? The majority? No way.

I agree - I was just noting that that was her last "hit" and that hit got her exposure to a whole new group of young people that probably had never heard of her. So, that was in a way a marketing tool :shrug:

[dissention]

Yes, but that's a niche market. That's why Billboard has a separate chart for it, wouldn't you think? Some kids go to clubs, but most kids don't, or don't go often. Planets is a perfect example of something that gets a momentary blaze of popularity within that niche, but that still doesn't generate additional sales in substantial numbers of the album it comes from.

Stevie's fans bought about one million Shangri-La albums. What percentage of them regularly go clubbing? The majority? No way.

Clubs also calculate playlists based almost entirely on the remixers, not the artists being remixed. The fact that Stevie had a song remixed by a rather hot remixer is what helped her in that arena.

[ontheEdgeof17]

I don't think so. Classic rock stations would have balked at playing that type of song. What she needs to do, in my opinion, is go back to rock. :)


It shouldn't be released to Classic Rock Stations because it's not a Classic Rock song. She needs more mainstream hits.....


.....and rock? I dunno if she has ever been 'rock'.....a few songs here and there maybe.....

[strandinthewind]

Clubs also calculate playlists based almost entirely on the remixers, not the artists being remixed. The fact that Stevie had a song remixed by a rather hot remixer is what helped her in that arena.

Totally, but clearly her name and her the public's general like of her or at least what she used to be, played a significant role in that initial interest. I mean Tracy Young said it was as much of an honor to remix La Nicks as it was to remix Madonna. That is huge in my book.

[dissention]

It shouldn't be released to Classic Rock Stations because it's not a Classic Rock song. She needs more mainstream hits.....

.....and rock? I dunno if she has ever been 'rock'.....a few songs here and there maybe.....

You can't get very mainstream if you don't release your song to your key demographic, which is the classic rock crowd in Stevie's case. Alienating that audience isn't going to do very much to get your song some airplay, let alone sell albums.

[David]

I was responding to the comment that Stevie needs to get on the radio by saying those songs got airplay when they came out - they were given a chance to be hits - they were not wholly ignored by radio, etc.Well, yes, but that's sort of a given, isn't it? Aren't there always a lot more songs that get "initial airplay" than there are big hits? The big hits are a subset of total airplay, no?
They did not, however, hit, with the exception of the dance remixes of POTU. So, I do not think getting on the radio is the problem. I think it is the lack on interest by the public, etc.But if listeners were interested, the song would be a hit, right? The DJs don't just play a new Stevie Nicks song 24 hours a day because they like it. The listeners have to like it -- they have to love it. They have to e-mail the station or call the station & plead with them to hear it. Don't they compile playlists based on noisy listeners? What other criterion would they possibly use? the studio where the song was cut? the weather?

[dissention]

Totally, but clearly her name and her the public's general like of her or at least what she used to be, played a significant role in that initial interest. I mean Tracy Young said it was as much of an honor to remix La Nicks as it was to remix Madonna. That is huge in my book.

I think the fact that it was a good remix by a good remixer is what helped it play so big after being sent to clubs. Tracy Young's name is what got it serviced to them in the first place, not Stevie Nicks. To say that clubbers have a "general like" or "interest" in Stevie doesn't sound like it rings very true to me.

[strandinthewind]

Interestingly, the radio stations here were inundated with email for the TISL singles. I, of course, being responsible for many of those :laugh: But, I agree they were not hits. I was just saying that they got airplay in the beginning, which I think someone suggested they did not when they said we have to figure out how to get her on the radio - I was like - well she was on the radio, it is just no significant number of people cared about it, which is, I think, your point.

[skcin]

.....and rock? I dunno if she has ever been 'rock'.....a few songs here and there maybe.....


I think she's always been rock, with a little bit of country, dance & 80's cheese thrown in from time to time. :)

[ontheEdgeof17]

You can't get very mainstream if you don't release your song to your key demographic, which is the classic rock crowd in Stevie's case. Alienating that audience isn't going to do very much to get your song some airplay, let alone sell albums.


The Classic Rock stations around here don't play anything new....They stick to the 60s, 70s, 80s, and early 90s. They have the same songs being rotated over and over. I dunno if it is like that anywhere else, but why try to stay in that market if you can't promote over the radio?

[dissention]

But if listeners were interested, the song would be a hit, right? The DJs don't just play a new Stevie Nicks song 24 hours a day because they like it. The listeners have to like it -- they have to love it. They have to e-mail the station or call the station & plead with them to hear it. Don't they compile playlists based on noisy listeners? What other criterion would they possibly use? the studio where the song was cut? the weather?

:laugh:

Interestingly, one of the stations I listen to rarely played Peacekeeper or any of the other mainstream fluff off of SYW, they played Come and Running Through the Garden of all songs. I almost choked on my Wheaties the morning I heard Come blast out of my radio.

[strandinthewind]

I think the fact that it was a good remix by a good remixer is what helped it play so big after being sent to clubs. Tracy Young's name is what got it serviced to them in the first place, not Stevie Nicks. To say that clubbers have a "general like" or "interest" in Stevie doesn't sound like it rings very true to me.

Remixes of the larger artists, which Stevie clearly is - tend to cause a commotion. Of course, the better known remixers/DJ's generally get the larger artists. So, this is a chicken and egg argument. But, in the end, I think it is incorrect to say that La Nicks name and her product had nothing whatsoever to do with the popularity of the remix. I mean that remix was being played in clubs as of last Summer, which was just about the last time I left my cave to venture into one :laugh:

[dissention]

Remixes of the larger artists, which Stevie clearly is - tend to cause a commotion. Of course, the better known remixers/DJ's generally get the larger artists. So, this is a chicken and egg argument. But, in the end, I think it is incorrect to say that La Nicks name and her product had nothing whatsoever to do with the popularity of the remix. I mean that remix was being played in clubs as of last Summer, which was just about the last time I left my cave to venture into one :laugh:

We'll agree to disagree, love. :xoxo:

[David]

It shouldn't be released to Classic Rock Stations because it's not a Classic Rock song.But then again, if we're talking about selling millions again, the classic rock songs aren't what's filling up the Hot 100 list.
.....and rock? I dunno if she has ever been 'rock'.....a few songs here and there maybe.....The classic rock stations have always embraced both Stevie & Fleetwood Mac. Throughout the '80s & '90s, you could hear "Rhiannon" in a song block that included, for example, Aerosmith, Zeppelin, Bad Company, etc.

But, again, the classic rock stations are not the Top 100 stations. The classic rock station listeners already have all those albums being played decade after decade: "Led Zep IV," "Toys in the Attic," "Rumours," "The Long Run," etc.

[strandinthewind]

We'll agree to disagree, love. :xoxo:

I agree that the popularity of the remixer is a key ingridient, but I just can't believe you think the name of the artist has nothing to do with the popularity of a dance remix :shrug:

I mean Madonna, Cher, etc., could be remixed by a no name and that remix would be huge in that genre :shrug:

[dissention]

I agree that the popularity of the remixer is a key ingridient, but I just can't believe you think the name of the artist has nothing to do with the popularity of a dance remix :shrug:

I mean Madonna, Cher, etc., could be remixed by a no name and that remix would be huge in that genre :shrug:

Not in Stevie's case.

Stevie Nicks isn't exactly Madonna or Cher when it comes to music, so I find that point moot. :shrug: Cher and Madonna have been doing dance music for eons, Stevie Nicks has not. It's only natural that their remixes and the like cause a big commotion because that's their bread and butter.

[strandinthewind]

Stevie Nicks isn't exactly Madonna or Cher when it comes to music, so I find that point moot. :shrug: Cher and Madonna have been doing dance music for eons, Stevie Nicks has not. It's only natural that their remixes and the like cause a big commotion because that's their bread and butter.

Thus my point that it is not always the remixer that sells :wavey: :xoxo: :wavey: ;)

[dissention]

Thus my point that it is not always the remixer that sells :wavey: :xoxo: :wavey: ;)

It still does nothing to aid your argument that Stevie's name is what lent it such great popularity. ;)

[strandinthewind]

It still does nothing to aid your argument that Stevie's name is what lent it such great popularity. ;)

Perhaps, but it sure does negate your statement "Clubs also calculate playlists based almost entirely on the remixers, not the artists being remixed" which is all I care about now :laugh:

[David]

Interestingly, the radio stations here were inundated with email for the TISL singles. I, of course, being responsible for many of those :laugh: But, I agree they were not hits. I was just saying that they got airplay in the beginning, which I think someone suggested they did not when they said we have to figure out how to get her on the radio - I was like - well she was on the radio, it is just no significant number of people cared about it, which is, I think, your point.Ah, well, yes I would agree with that. In that regard, "getting on the radio" is just sort of ... big deal.

The older I get, the younger those kids get. My 15-year-old niece & all her 15-year-old friends with all their 15-year-old minds just don't like old fogie music ---> Stevie Nicks & Fleetwood Mac & Lindsey Buckingham & whoever else is in the band at this point.

And all those kids rule those hit charts with the power of the tsars of Old Russia (as we did in my day).

[dissention]

Perhaps, but it sure does negate your statement "Clubs also calculate playlists based almost entirely on the remixers, not the artists being remixed" which is all I care about now :laugh:

How does it?

"Almost entirely"?

[strandinthewind]

Ah, well, yes I would agree with that. In that regard, "getting on the radio" is just sort of ... big deal.

The older I get, the younger those kids get. My 15-year-old niece & all her 15-year-old friends with all their 15-year-old minds just don't like old fogie music ---> Stevie Nicks & Fleetwood Mac & Lindsey Buckingham & whoever else is in the band at this point.

And all those kids rule those hit charts with the power of the tsars of Old Russia (as we did in my day).

I know and their taste is horrid. I listen to some of the stuff from Jessica and Ashlee Simpson and that ilk and I want to turn off the radio :laugh: But, such is life I guess.

[David]

:laugh:

Interestingly, one of the stations I listen to rarely played Peacekeeper or any of the other mainstream fluff off of SYW, they played Come and Running Through the Garden of all songs. I almost choked on my Wheaties the morning I heard Come blast out of my radio.I guess occasionally, despite what I've heard, a DJ ignores his playlist & just plays whatever the hell he wants.

Imagine the headline on that person's lurid story: I Was Fired Over 'Come'!

[strandinthewind]

How does it?

"Almost entirely"?

thus, my point that the artist's name has something to do with it :wavey:

This is fun because I rarely catch you like this :xoxo:

[dissention]

thus, my point that the artist's name has something to do with it :wavey:

This is fun because I rarely catch you like this :xoxo:

I never once said that a name has *nothing* to do with club play, so you seem to have caught nothing, my dear. I did, however, say that Stevie's name had pretty much next to nothing to do with her remix getting played. ;)

[strandinthewind]

I guess occasionally, despite what I've heard, a DJ ignores his playlist & just plays whatever the hell he wants.

Imagine the headline on that person's lurid story: I Was Fired Over 'Come'!

Well, along those lines, at the Madison show last year, I got up to go get a diet coke and the people behind me were like what's next, where are you going, etc. I responded with all sincerity "Well, I love Lindsey's Come, but I need a diet coke" :eek: - realizing what I had said about halfway to the concession stand :laugh: Then, I had to back and sit in front of those people :laugh:

[strandinthewind]

I never once said that a name has *nothing* to do with club play, so you seem to have caught nothing, my dear. I did, however, say that Stevie's name had pretty much next to nothing to do with her remix getting played. ;)

Perhaps, but La Nicks' name is what got it remixed by such a star in the first place :shrug: Tracy Young said she was thrilled with the opportunity and when I discussed it with her she said she loved doing it, it was a great experience, etc.

[dissention]

Perhaps, but La Nicks' name is what got it remixed by such a star in the first place :shrug: Tracy Young said she was thrilled with the opportunity and when I discussed it with her she said she loved doing it, it was a great experience, etc.

But just because she got it remixed by someone as hot as Tracy Young, that doesn't automatically make it a hit because of Stevie's name. It was serviced to clubs because of Tracy Young and it's her name that got it played.

[strandinthewind]

But just because she got it remixed by someone as hot as Tracy Young, that doesn't automatically make it a hit because of Stevie's name. It was serviced to clubs because of Tracy Young and it's her name that got it played.

and the fact that it was a remix of a well known artist certainly helped it along the way, sort of a triple threat if you will (Stevie, killer song, well known remixer) :shrug: Again, chicken and egg.

[dissention]

and the fact that it was a remix of a well known artist certainly helped it along the way, sort of a triple threat if you will (Stevie, killer song, well known remixer) :shrug: Again, chicken and egg.

Well, that's kind of obvious. Without Stevie Nicks, there wouldn't have been a song to remix. But her name didn't make it a hit.

[strandinthewind]

Well, that's kind of obvious. Without Stevie Nicks, there wouldn't have been a song to remix. But her name didn't make it a hit.

Not totally, but it sure helped? I mean if Tracy Young had the choice to promote two remixes of equal quality - one by a well know artist and one by a no name - she is going to chose the one by the well known artist because of the added value of that name.

[dissention]

Not totally, but it sure helped? I mean if Tracy Young had the choice to promote two remixes of equal quality - one by a well know artist and one by a no name - she is going to chose the one by the well known artist because of the added value of that name.

I don't think Young gets approached by too many no-names with her dance card being so solidly booked, but I see what you're saying. Stevie's name certainly helped get it remixed, I'm just saying that it didn't much when it came to club play. And it didn't. :p

[strandinthewind]

. . . I'm just saying that it didn't much when it came to club play. And it didn't. :p

Poppycock :D

[Johnny Stew]

Using a lull in the activity here at work, to drop by the Ledge. :angel:

Clubs also calculate playlists based almost entirely on the remixers, not the artists being remixed. The fact that Stevie had a song remixed by a rather hot remixer is what helped her in that arena.You've said this in the past, too, and I still disagree with you... as I did then.

I have several friends who are DJs, or who simply work in clubs, and that song was added to playlists mainly because it was Stevie Nicks, not because it was remixed by Tracy Young.
And the folks on the dance floor couldn't care less who the remixer is... they respond to the songs.

[dissention]

Poppycock :D

Just the Nuts, please. :D

[dissention]

You've said this in the past, too, and I still disagree with you... as I did then.

Oh well, such is life. :xoxo:

We've had the same discussion numerous times, might as well just post the link to the last thread. :laugh: