Viv brings you a brand spankin' new interview with Stevie

[RockALittle250]

Originally Posted by HejiraNYC

I'm not sure if this has been posted, but I don't recall reading it... Anyway, please pardon any typos since I had to type this f;alkhd;oifhy;oihda; article out since it was not in a text-based format.

Enjoy.

http://morenews2.newspress.com/scene.../pageflip.html

Thank you so much for typing this up for us!

Wow...14 tracks. So now we have the final number, and from the sound of it, i assume the album has now moved into post-production. With every new interview, we gain another tid-bit about this record!

[Amlyn]

Originally Posted by HejiraNYC

I'm not sure if this has been posted, but I don't recall reading it... Anyway, please pardon any typos since I had to type this f;alkhd;oifhy;oihda; article out since it was not in a text-based format.

Enjoy.

http://morenews2.newspress.com/scene.../pageflip.html

Santa Barbara News-Press Magazine July 30-August 5, 2010


Back in the Bus, Back in the Studio
by Josef Woodard
News-Press Correspondent

Seasoned pop chanteuse Stevie Nicks, whose musical muse keeps on giving as she eases into her 60something life, has stopped in Santa Barbara many a time and given local audiences a taste of what she's up to. In the mid-'00s, she appeared with Fleetwood Mac at the grand opening of the Chumash Casino's Samala Showroom, and then, in 2005, showed up under her own commercially charged name at the Santa Barbara Bowl.

Five years on, she stops at the Bowl again, enxt Wednesday, just on the eve of a significant moment in her musical life. She has been collaborating with famed producer Dave Stewart (of Eurythmics fame) on her first new studio album in nearly a decade, after 2001's "Trouble in Shangri-la."

If the long-awaited new album is characteristic of the Nicks approach, then it will be a light and dark concoction. In concert and on her discography, Nicks has had the distinction of simultaneously floating and rocking, moving easily from the drifty "Dreams" to the chugging "Stand Back," with the middle-grounding "Rhiannon" in hypnotic pop mode.

There is an added significance to this Bowl date, which was added to her current run of shows on short notice. Nicks, who has been a generous and charitable artist for various causes in the past, essentially booked this concert out of concern for an 8-year-old friend named Cecelia, who was diagnosed with a rare form of tissue cancer called rhabdomyosarcoma, which will require nearly a year of intensive chemotherapy. Nicks wanted to help the cause, and proceeds for this concert will go to Cecelia's extensive healing.

As Nicks explained in a recent phone interview, "I'm excited about this show for a lot more reasons than just because it's going to be a great show and I love the Santa Barbara Bowl, but because it's going to be all Cecelia's energy there that night.

You are about to release your first album of new studio material in nearly a decade. Are you someone who instinctively and maybe even obsessively works on songs at a time? Or does that come and go?

You know what? It really doesn't come and go. It's just kind of there all the time. I'm the kind of person that tries to keep a journal. If nothing happened today, then I'll probably not write tonight. But if something cool happens, I'm going to write about it, even if it's only a paragraph.

A lot of my poetry comes right out of my prose. I keep my journals in those big leather-bound magazine-size volumes so that they're never lost, because I realized - the last time I got out of rehab, in 1993- that spiral notebooks got lost... That's my saving grace. I don't just make up poems. I have an initial idea that comes from something that I've written about life, as it hits me every day. I do make up little parts of it, but there has to be a seed of reality that starts it out.

I never thought of you as being an excessively autobiographical, navel-gazing-brand songwriter. It seems like your work is filtered through some poetic process or translation.

It does, and it always has. It's not a big deal to me. Since I can remember, since I was a little kid, if something great happened at school, I'd want to write about it. I was in a play in the sixth grade and I thought I was horrible and terrible and came home and told my mom, 'Don't ever put me in a drama class again, because I'm a lousy actress. I'm never doing that again.'

I've been working with Dave Stewart. He's just insane. I adore him, because he's just like the circus came to town. All of a sudden, he'll look at you and say (in British accent), 'Have you ever considered acting?' And I'm thinking, 'Oh, I'm going to have to tell you about the sixth grade play.' I was so bad in this play about the Alamo, where I was one of the two surviving women. And Dave goes, 'Oh, another dream shattered' (laughs). You go back to that stuff. I could sit down and write a whole song about that stupid play that I was so bad in (laughs).

Anyway, so my journals are complete. My journals are not only about me. I'm keeping a journal for everyone around me. Everyone is in the journal, in a good way. Everybody in my life is in the journals. So they're not just my journals.

Could these journals ever be made public in some form?

Maybe. If something bad happened to me, I will explain it and why it happened, but I will not blame anybody or go into that, because that is the kind of stuff that I would never want to come out from me. I have always been very careful to make sure that if somebody is going to read all that stuff, I would like people to learn from it. It would be my life. It would be my lessons.

Believe me, people want to make a movie of our life, my life, Fleetwood Mac's life. They want to do a musical about our life. You can't even imagine the offers that we get. Our answer, basically, is that we're not dead. Until we're much older than we are now, we're not ready to have somebody make movies about us.

Somebody wants to make a movie about just three years, two weeks before Lindsey (Buckingham) and I joined Fleetwood Mac, when we drove away from the Record Plant with the 12-tracks for "Rumours." And that is a little bit intriguing to me. That's just three years out of 62 years. That's an interesting concept and could maybe happen, but not unless we felt it was just phantasmagorical. If we were going to do that and let that kind of information out, then we would want people to be seeing it through our eyes and living it, as exciting as it was. We wouldn't want any corny, stupid, soppy thing about sex and drugs to go out, because that's really not what it was about.

That existed in it, but that was a very small part of it, really, especially in those years. Those years were when there really wasn't any of that. We were way too poor to buy drugs. We were too poor to buy food. For that first three years, we were living the dream, but we were excited to be making a thousand dollars a week.

You must look back on that chunk of time as being a fairly surreal period in your life, don't you?

It was so surreal and so exciting. We went, truly, from cleaning lady and waitress to giving notice at the waitress place, because I wasn't sure this would work on Jan. 1, when we joined Fleetwood Mac in 1975. I was the frugal one, who was supporting me and Lindsey and half of our male friends, our little cluster of musicl people that worked with us. I was really the only one who had a job. I was paying the rent and I was paying to keep the car movign and for the little bit of food we could possibly afford to have. There were no drugs or alcohol. there was nothing, except a bit of skirt steak. I worked all day.

From that, Jan. 1, into the studio on Jan. 31 and recording the record in February through April, in May we did press and in June, we went on the road and the record came out. By the end of that summer, Lindsey and I, together, were a millionaire. So yes, it was surreal.

Suddenly, as well, there grew to be some misplaced backlash about superstardom and your being pampered pop stars. I always saw it differently, that you were making truthful and artful music and had the integrity in your work. It must have been strange for you to contend with that factor.

It was, because in those days, we were just trying so hard. We were trying hard to be great. It really mattered to us. Lindsey and I had been working for more than five years, really since 1968. That's when I joined Lindsey's band, in San Francisco. We joined Fleetwood Mac on the first day of 1975. So it was seven years we had been working when we joined the band.

We were beyond aprpeciative. We were also way beyond taking anything for granted. For us, it was like, 'All that hard work paid off.' So we were just very proud of ourselves and very, very thankful. We loved the people in Fleetwood Mac, because they were like Dave Stewart, these crazy English people. Once again, the circus had come to town. My god, we got on this circus train that was flying on a red carpet and it was fantastic. We all got along so great. We had so much fun.

Everybody tended to concentrate on the not-fun part of it, but there really wasn't a lot of it that wasn't fun. It was totally fun, most of the time.

And then you proved something else, artistically, with the double-disk "Tusk." Here was your follow-up to this big pop sensation, "Rumours," and it was so interesting and experimental.

And you know what? I just finished recording for two weeks at Village Records. We recorded the 14 tracks for this record I'm making with Dave. It's in the same room. Needless to say, over the last two weeks - which we have filmed- the "Tusk" stories have been abounding. It's the same room.

There are the big huge ivory tusks on the side of the board, and all of the Poalroids that were hung everywhere and the shrunken heads and the pillows, the tapestries, all the stuff that we collected over 13 months (of making "Tusk"), being there six days a week, all day long and half the night. It was really like walking down memory lane, being in there for the last two weeks. It looks exactly the same and feels exactly the same, with the same tile. They've changed nothing. The lounge is exactly the same. It's trippy.

I walk in there and think, 'The last time I was in here for any length of time, I was just barely 30. That was 30 years ago.' And yet you walk in there and it's like it was yesterday.

How was this recording project for you? If my math is correct, it has been almost a decade since your last studio album.

Yes, 2001. The sad thing about "Trouble in Shangri-la" was that it came out in June. We went on the road and two months later, 9/11 happened. 9/11 kind of knocked the record right off the boards, and everybody else in the world. But again, there was that experience. We were out on the road, and I stayed out on the road, when just about everybody else went home. But then I came home at the end of October and went straight into recording with Fleetwood Mac. So that record is almost like a blur. It took a long time, almost three years.

With this (new) record, I started working with Dave in the beginning of February. It's 14 tracks, recorded in the last two weeks. I think this is the best thing I've maybe ever done. I think it's my swan. Not my swan "goodbye" song, but my big swan "hello" song.

I gave him a book of poetry in the last week of January, right before the Grammys. I said, 'This is all the poetry from my journals for the last seven years. Here. Otherwise, it will just rot on the shelf.' I never really expected him to read it, but he did. He came to my house right after the Grammys and was sitting on a chair across from me, on my couch. He says, 'Alright, I like this poem, so let's try this one.' He hands me the poem and says, 'OK, go." I just started singing, right off the top of my head, because I had no choice. In 30 minutes, we had written a great song and recorded it. From then on, he would come up two or three times a week and we would write.

Anyway, it has nine Dave-and-Stevie songs and five Stevie songs. So we have the suffering Stevie songs, I call them, and the amazing songs that Dave and I wrote. I have to say, I feel like Rodgers and Hammerstein or Lennon and McCartney. I'm starting to understand, after this four months of having so much fun and working with such an amazing person, He can play that guitar like you wouldn't believe. He's very much a peer of Lindsey and Eric Clapton and all the other great guitarists of the world. He is also incredibly amazing as an arranger and as somebody who can just bring the best out of you.

I think the world is going to be very surprised and very pleased. It's really fun to have a partner to do this with. It's really much more fun than sitting at the piano by yourself, crying. It beats it to hell, to be able to do something that is this much fun and be working with somebody who wants you to be your creative, miserable self, but still wants you to come up out of that also.

I'm loving that with each of these interviews were getting a little bit more info to whet the appetite. So now we know that she's looking at 14 songs for this album, more than half being written with Dave. And pulling from 7 plus years of journals.

She and Lindsey should totally sign up on doing that 3 year biopic thing. Would be the perfect way to release BN on CD as well. But, let's be realistic...I doubt that movie would ever happen...here's one case where odds of BN being released on CD has the upper hand.

Anyway, thanks for posting this! All but the last few paragraphs seemed new to me! HOpe there's a lot more gas in that tank. I like reading these interviews lately!

[HejiraNYC]

Originally Posted by RockALittle250

Thank you so much for typing this up for us!

Wow...14 tracks. So now we have the final number, and from the sound of it, i assume the album has now moved into post-production. With every new interview, we gain another tid-bit about this record!

You're welcome... I was surprised it hadn't been posted yet since it apparently has been out since July 30th. Yes, 14 tracks with five Stevie originals... however, what about the Mike Campbell songs?

I love how she is calling this her "swan 'hello' song." It just made me feel all warm and bubbly inside. Or maybe it was the oppressive August humidity...

[nailatixela]

Originally Posted by HejiraNYC

I love how she is calling this her "swan 'hello' song." It just made me feel all warm and bubbly inside. Or maybe it was the oppressive August humidity...

No, that got to me too. Thanks so much for typing this up. 9 co written songs worries me a bit...sounds like a lot. As long as they are good.

[Hawkeye]

Wow, so this might be the first Stevie album where EVERY song is written by Stevie.

And Stevie misfact number 718 for thr decade, TISL was not released in June, it was released May 1, 2001.

[Nikolaj]

Great new article. Nice find, Hejira, and thanks for sharing, and for all of your typing!
Seems that Stevie made a mistake naming 'Rumours' and not 'Fleetwood Mac' as the 1975 album of which she claims a film 'might be made, "about the 2 weeks before Lindsey and I joined Fleetwood Mac", citing Jan. 1 1975, and 'by the end of the year' that they were 'millionaires together', not individually. From the time frame she's speaking of, it couldn't have been 1977's Rumours.
It was very interesting to read that she and Dave had completed 14 (!) songs for the new cd- 9 Stevie and Dave co-written, and 5 Stevie solo-- though I believe SN said that 'Annabelle Lee' has both Dave and Mike Campbell as musical writers along with Stevie, with Stevie-Poe as the lyricist(s).
I assume the 2 songs that Stevie wrote lyrics to from musical tracks of Mike Campbell's are what she may have lumped in with the 5 'Stevie solo songs', I don't know. Maybe between this comment, and the 'Rumours' 1975 comment, she was having a couple of 'senior moments' or it could be the interviewer transcribed incorrectly what she said, she can talk quite rapidly.
I long got over her having co-writers, she's been doing it quite a lot since Sandy Stewart and Campbell on 'The Wild Heart' and a good song is a good song, and I bet that Dave and Mike both will add a lot to the songs with their contributions. Plus, they worked so fast! Get it out, now, and do it again soon, same exact way, quickly and with joy!
It's exciting to read about the present. Now we need some more song titles and a release date. October 5, 2010 sounds good, to me
I'd hoped the info I got back in December of 09 was true, a new solo Stevie cd by years end. So, will the never-confirmed 'late summer' single release 'on line or in stores' happen by August 31? To me, that's late summer, though, technically, I guess it's a few weeks early before the official end of summer.
Have to say Stevie and Dave worked super fast, 14 songs done before August 4. I "knew" in my gut that David Wild had heard final mixes, that he wouldn't have commented publicly about the excellence of demos that could have changed.
Dave was holding back a bit of info of how nearly complete the cd was, until Stevie wanted it to be revealed, which she now has revealed- 14 songs, done!
Interesting she and Dave went back to the 'Tusk' studio of '78 and '79 and that it hadn't changed at all in 3o years?! I guess all the work Stevie and Dave did at his studio/his house, was in preparation to go into the Tusk studio to finish it all up?
Thanks again for all your effort typing and sharing this info, Hejira, it's another important piece of the puzzle. She's had the cover photo shoot for the cd, correct? They filmed every song in the studio? I think this October 5 sounds like a perfect release date. Or sooner!

[vivfox]

HejiraNYC , thank you very much for posting this article. I never knew of its existence. It takes the resources of all of us to find these great gems. Yes these interviews reveal much new information each time. Very exciting time for us fans.

[wildheart048]

Originally Posted by HejiraNYC

I'm not sure if this has been posted, but I don't recall reading it... Anyway, please pardon any typos since I had to type this f;alkhd;oifhy;oihda; article out since it was not in a text-based format.

Enjoy.



http://morenews2.newspress.com/scene.../pageflip.html

Santa Barbara News-Press SCENE Magazine July 30-August 5, 2010


Back in the Bus, Back in the Studio
by Josef Woodard
News-Press Correspondent

Seasoned pop chanteuse Stevie Nicks, whose musical muse keeps on giving as she eases into her 60something life, has stopped in Santa Barbara many a time and given local audiences a taste of what she's up to. In the mid-'00s, she appeared with Fleetwood Mac at the grand opening of the Chumash Casino's Samala Showroom, and then, in 2005, showed up under her own commercially charged name at the Santa Barbara Bowl.

Five years on, she stops at the Bowl again, enxt Wednesday, just on the eve of a significant moment in her musical life. She has been collaborating with famed producer Dave Stewart (of Eurythmics fame) on her first new studio album in nearly a decade, after 2001's "Trouble in Shangri-la."

If the long-awaited new album is characteristic of the Nicks approach, then it will be a light and dark concoction. In concert and on her discography, Nicks has had the distinction of simultaneously floating and rocking, moving easily from the drifty "Dreams" to the chugging "Stand Back," with the middle-grounding "Rhiannon" in hypnotic pop mode.

There is an added significance to this Bowl date, which was added to her current run of shows on short notice. Nicks, who has been a generous and charitable artist for various causes in the past, essentially booked this concert out of concern for an 8-year-old friend named Cecelia, who was diagnosed with a rare form of tissue cancer called rhabdomyosarcoma, which will require nearly a year of intensive chemotherapy. Nicks wanted to help the cause, and proceeds for this concert will go to Cecelia's extensive healing.

As Nicks explained in a recent phone interview, "I'm excited about this show for a lot more reasons than just because it's going to be a great show and I love the Santa Barbara Bowl, but because it's going to be all Cecelia's energy there that night.

You are about to release your first album of new studio material in nearly a decade. Are you someone who instinctively and maybe even obsessively works on songs at a time? Or does that come and go?

You know what? It really doesn't come and go. It's just kind of there all the time. I'm the kind of person that tries to keep a journal. If nothing happened today, then I'll probably not write tonight. But if something cool happens, I'm going to write about it, even if it's only a paragraph.

A lot of my poetry comes right out of my prose. I keep my journals in those big leather-bound magazine-size volumes so that they're never lost, because I realized - the last time I got out of rehab, in 1993- that spiral notebooks got lost... That's my saving grace. I don't just make up poems. I have an initial idea that comes from something that I've written about life, as it hits me every day. I do make up little parts of it, but there has to be a seed of reality that starts it out.

I never thought of you as being an excessively autobiographical, navel-gazing-brand songwriter. It seems like your work is filtered through some poetic process or translation.

It does, and it always has. It's not a big deal to me. Since I can remember, since I was a little kid, if something great happened at school, I'd want to write about it. I was in a play in the sixth grade and I thought I was horrible and terrible and came home and told my mom, 'Don't ever put me in a drama class again, because I'm a lousy actress. I'm never doing that again.'

I've been working with Dave Stewart. He's just insane. I adore him, because he's just like the circus came to town. All of a sudden, he'll look at you and say (in British accent), 'Have you ever considered acting?' And I'm thinking, 'Oh, I'm going to have to tell you about the sixth grade play.' I was so bad in this play about the Alamo, where I was one of the two surviving women. And Dave goes, 'Oh, another dream shattered' (laughs). You go back to that stuff. I could sit down and write a whole song about that stupid play that I was so bad in (laughs).

Anyway, so my journals are complete. My journals are not only about me. I'm keeping a journal for everyone around me. Everyone is in the journal, in a good way. Everybody in my life is in the journals. So they're not just my journals.

Could these journals ever be made public in some form?

Maybe. If something bad happened to me, I will explain it and why it happened, but I will not blame anybody or go into that, because that is the kind of stuff that I would never want to come out from me. I have always been very careful to make sure that if somebody is going to read all that stuff, I would like people to learn from it. It would be my life. It would be my lessons.

Believe me, people want to make a movie of our life, my life, Fleetwood Mac's life. They want to do a musical about our life. You can't even imagine the offers that we get. Our answer, basically, is that we're not dead. Until we're much older than we are now, we're not ready to have somebody make movies about us.

Somebody wants to make a movie about just three years, two weeks before Lindsey (Buckingham) and I joined Fleetwood Mac, when we drove away from the Record Plant with the 12-tracks for "Rumours." And that is a little bit intriguing to me. That's just three years out of 62 years. That's an interesting concept and could maybe happen, but not unless we felt it was just phantasmagorical. If we were going to do that and let that kind of information out, then we would want people to be seeing it through our eyes and living it, as exciting as it was. We wouldn't want any corny, stupid, soppy thing about sex and drugs to go out, because that's really not what it was about.

That existed in it, but that was a very small part of it, really, especially in those years. Those years were when there really wasn't any of that. We were way too poor to buy drugs. We were too poor to buy food. For that first three years, we were living the dream, but we were excited to be making a thousand dollars a week.

You must look back on that chunk of time as being a fairly surreal period in your life, don't you?

It was so surreal and so exciting. We went, truly, from cleaning lady and waitress to giving notice at the waitress place, because I wasn't sure this would work on Jan. 1, when we joined Fleetwood Mac in 1975. I was the frugal one, who was supporting me and Lindsey and half of our male friends, our little cluster of musicl people that worked with us. I was really the only one who had a job. I was paying the rent and I was paying to keep the car movign and for the little bit of food we could possibly afford to have. There were no drugs or alcohol. there was nothing, except a bit of skirt steak. I worked all day.

From that, Jan. 1, into the studio on Jan. 31 and recording the record in February through April, in May we did press and in June, we went on the road and the record came out. By the end of that summer, Lindsey and I, together, were a millionaire. So yes, it was surreal.

Suddenly, as well, there grew to be some misplaced backlash about superstardom and your being pampered pop stars. I always saw it differently, that you were making truthful and artful music and had the integrity in your work. It must have been strange for you to contend with that factor.

It was, because in those days, we were just trying so hard. We were trying hard to be great. It really mattered to us. Lindsey and I had been working for more than five years, really since 1968. That's when I joined Lindsey's band, in San Francisco. We joined Fleetwood Mac on the first day of 1975. So it was seven years we had been working when we joined the band.

We were beyond aprpeciative. We were also way beyond taking anything for granted. For us, it was like, 'All that hard work paid off.' So we were just very proud of ourselves and very, very thankful. We loved the people in Fleetwood Mac, because they were like Dave Stewart, these crazy English people. Once again, the circus had come to town. My god, we got on this circus train that was flying on a red carpet and it was fantastic. We all got along so great. We had so much fun.

Everybody tended to concentrate on the not-fun part of it, but there really wasn't a lot of it that wasn't fun. It was totally fun, most of the time.

And then you proved something else, artistically, with the double-disk "Tusk." Here was your follow-up to this big pop sensation, "Rumours," and it was so interesting and experimental.

And you know what? I just finished recording for two weeks at Village Records. We recorded the 14 tracks for this record I'm making with Dave. It's in the same room. Needless to say, over the last two weeks - which we have filmed- the "Tusk" stories have been abounding. It's the same room.

There are the big huge ivory tusks on the side of the board, and all of the Poalroids that were hung everywhere and the shrunken heads and the pillows, the tapestries, all the stuff that we collected over 13 months (of making "Tusk"), being there six days a week, all day long and half the night. It was really like walking down memory lane, being in there for the last two weeks. It looks exactly the same and feels exactly the same, with the same tile. They've changed nothing. The lounge is exactly the same. It's trippy.

I walk in there and think, 'The last time I was in here for any length of time, I was just barely 30. That was 30 years ago.' And yet you walk in there and it's like it was yesterday.

How was this recording project for you? If my math is correct, it has been almost a decade since your last studio album.

Yes, 2001. The sad thing about "Trouble in Shangri-la" was that it came out in June. We went on the road and two months later, 9/11 happened. 9/11 kind of knocked the record right off the boards, and everybody else in the world. But again, there was that experience. We were out on the road, and I stayed out on the road, when just about everybody else went home. But then I came home at the end of October and went straight into recording with Fleetwood Mac. So that record is almost like a blur. It took a long time, almost three years.

With this (new) record, I started working with Dave in the beginning of February. It's 14 tracks, recorded in the last two weeks. I think this is the best thing I've maybe ever done. I think it's my swan. Not my swan "goodbye" song, but my big swan "hello" song.

I gave him a book of poetry in the last week of January, right before the Grammys. I said, 'This is all the poetry from my journals for the last seven years. Here. Otherwise, it will just rot on the shelf.' I never really expected him to read it, but he did. He came to my house right after the Grammys and was sitting on a chair across from me, on my couch. He says, 'Alright, I like this poem, so let's try this one.' He hands me the poem and says, 'OK, go." I just started singing, right off the top of my head, because I had no choice. In 30 minutes, we had written a great song and recorded it. From then on, he would come up two or three times a week and we would write.

Anyway, it has nine Dave-and-Stevie songs and five Stevie songs. So we have the suffering Stevie songs, I call them, and the amazing songs that Dave and I wrote. I have to say, I feel like Rodgers and Hammerstein or Lennon and McCartney. I'm starting to understand, after this four months of having so much fun and working with such an amazing person, He can play that guitar like you wouldn't believe. He's very much a peer of Lindsey and Eric Clapton and all the other great guitarists of the world. He is also incredibly amazing as an arranger and as somebody who can just bring the best out of you.

I think the world is going to be very surprised and very pleased. It's really fun to have a partner to do this with. It's really much more fun than sitting at the piano by yourself, crying. It beats it to hell, to be able to do something that is this much fun and be working with somebody who wants you to be your creative, miserable self, but still wants you to come up out of that also.

Awesome! thank you so much for taking the time to transcribe and share this!! I had no idea that it even existed...every thing I read about this upcoming album has me so damned excited!!! I hope the spirit of tusk enters the music somehow and just a thought...with all this talk about some pre-existing songs...and Cecelia being the girl that prompted this 'not a tour' tour' I wonder if one of the old songs will be ...Cecelia???

[Meowi]

Thanks for this, I wonder how many of these 14 songs will make it onto the album?

[Jondalar]

Originally Posted by Nikolaj

Great new article. Nice find, Hejira, and thanks for sharing, and for all of your typing!
Seems that Stevie made a mistake naming 'Rumours' and not 'Fleetwood Mac' as the 1975 album of which she claims a film 'might be made, "about the 2 weeks before Lindsey and I joined Fleetwood Mac", citing Jan. 1 1975, and 'by the end of the year' that they were 'millionaires together', not individually. From the time frame she's speaking of, it couldn't have been 1977's Rumours.
It was very interesting to read that she and Dave had completed 14 (!) songs for the new cd- 9 Stevie and Dave co-written, and 5 Stevie solo-- though I believe SN said that 'Annabelle Lee' has both Dave and Mike Campbell as musical writers along with Stevie, with Stevie-Poe as the lyricist(s).
I assume the 2 songs that Stevie wrote lyrics to from musical tracks of Mike Campbell's are what she may have lumped in with the 5 'Stevie solo songs', I don't know. Maybe between this comment, and the 'Rumours' 1975 comment, she was having a couple of 'senior moments' or it could be the interviewer transcribed incorrectly what she said, she can talk quite rapidly.
I long got over her having co-writers, she's been doing it quite a lot since Sandy Stewart and Campbell on 'The Wild Heart' and a good song is a good song, and I bet that Dave and Mike both will add a lot to the songs with their contributions. Plus, they worked so fast! Get it out, now, and do it again soon, same exact way, quickly and with joy!
It's exciting to read about the present. Now we need some more song titles and a release date. October 5, 2010 sounds good, to me
I'd hoped the info I got back in December of 09 was true, a new solo Stevie cd by years end. So, will the never-confirmed 'late summer' single release 'on line or in stores' happen by August 31? To me, that's late summer, though, technically, I guess it's a few weeks early before the official end of summer.
Have to say Stevie and Dave worked super fast, 14 songs done before August 4. I "knew" in my gut that David Wild had heard final mixes, that he wouldn't have commented publicly about the excellence of demos that could have changed.
Dave was holding back a bit of info of how nearly complete the cd was, until Stevie wanted it to be revealed, which she now has revealed- 14 songs, done!
Interesting she and Dave went back to the 'Tusk' studio of '78 and '79 and that it hadn't changed at all in 3o years?! I guess all the work Stevie and Dave did at his studio/his house, was in preparation to go into the Tusk studio to finish it all up?
Thanks again for all your effort typing and sharing this info, Hejira, it's another important piece of the puzzle. She's had the cover photo shoot for the cd, correct? They filmed every song in the studio? I think this October 5 sounds like a perfect release date. Or sooner!

Nicks has never cowritten lyrics with anyone until now. She has written songs to others tracks, but not written lyrics. I think she is getting credited with 5 songs written solely by her on the album too.

[Christopher]

It's also possible that the 9 Stevie and Dave tracks mentioned in this new article include the Mike Campbell tracks. I recall Dave saying that Stevie dug up an old Mike track that she really wanted to record and they brought Mike in and "they" made it even better. Perhaps by "they "Dave added something to the tracks as well. It wouldn't be unheard of if Dave also gets a co-writing credit on the Campbell tracks. Because remember Dave tweeted back on July 5 that they finished and recorded 7 tracks, (could be he was only referring to the tracks he and Stevie coauthored) not mentioning the 2 other Campbell collaborations or Stevie's self-penned tracks.

In the VCSstar.com interview Stevie is quoted; "I was able to pull four or five songs out of my song vault, and then a song I wrote about the “Twilight” movies and a song about Hurricane Katrina and New Orleans. So I came into this record with only two new songs. I had no idea I was going to write songs with Dave."~ So we know Stevie came into this project with only 2 newly written songs and 4 to 5 vault songs (which in Stevie speak could be ballpark 3-10 vault songs) anyway I digress, Just saying that I wouldn't hold any of these figures as to who wrote what track and how many until we see it with our own eyes. But other than that I think we have been right in the ballpark with guessing it was about 14 tracks so far.

Btw, has anyone checked online (I don't know where to go or I would) to see if Stevie has copyrighted any new song titles recently? That could be a start to help solve our little mystery brewing.

[michelej1]

Originally Posted by HejiraNYC

You're welcome... I was surprised it hadn't been posted yet since it apparently has been out since July 30th.

Woo, wonderful find. The very idea of the phantasmagorical stuff titillates me. I might not like the movie so much, but the interviews that Stevie and Lindsey would give to promote and discuss it alone would be like manna from heaven.

Michele

[michelej1]

I've liked that Stevie hasn't seemed mad at Lindsey in these last interviews. Sure, he'll never be a running buddy like Mick, but she's not saying that those 83 FM shows were miserable for her, that they fought constantly or anything like that. After SYW, the minute she started doing interviews for the Caesar Palace shows, I could tell she was angry with him. But this time, so far, so good.

I think it's good news for FM in 2011 or 2012.

Michele

[HejiraNYC]

Originally Posted by michelej1

I've liked that Stevie hasn't seemed mad at Lindsey in these last interviews. Sure, he'll never be a running buddy like Mick, but she's not saying that those 83 FM shows were miserable for her, that they fought constantly or anything like that. After SYW, the minute she started doing interviews for the Caesar Palace shows, I could tell she was angry with him. But this time, so far, so good.

I think it's good news for FM in 2011 or 2012.

Michele

But don't you think her comparing Dave Stewart to Lindsey Buckingham as a guitarist was a bit of a backdoor slam? It's almost as if she is saying, "Lookie here, Lindsey, I've got my own guitar hero and producer extraordinaire. You're not the be-all, end-all, bees knees and all that stuff." And when she says this is the best stuff she's ever done, she is kind of throwing the entire post-1975 Fleetwood Mac catalogue under the bus too.

I don't think her comments come from a place of anger, at least in the overt, palpable sense. But I can't help but wonder if she subsconsciously feels compelled to get these subtle digs in.

[HejiraNYC]

Originally Posted by michelej1

Woo, wonderful find. The very idea of the phantasmagorical stuff titillates me. I might not like the movie so much, but the interviews that Stevie and Lindsey would give to promote and discuss it alone would be like manna from heaven.

Michele

I think a "jukebox musical" a la Mamma Mia or Rock of Ages could be totally done today since it wouldn't have anything to do with Stevie's (or anyone else's) life story. Admittedly, I think jukebox musicals are horrible, but I would definitely go to see how their songs would be interpreted. I would just seize and stroke at the sight of Christine collecting an Emmy award for best score!