Scotsman.com (Interview)

[The Catdancer]

Originally Posted by HejiraNYC

Wha...???

My apologies, I totally misread your post. I'm sorry....

[The Catdancer]

Originally Posted by JazmenFlowers

why so upset?

I thought it was funny. it was obviously a joke.

I misread it. Sorry.

[michelej1]

Originally Posted by JazmenFlowers

what? omg. I see where the interviewer alludes to that, but Stevie never said that and she would never say that.

Stevie would and has said much worse than that. But the quote I was referencing was actually in the last Mojo. She said:

She continues, “But Lindsey and I have had many thing happen on-stage that’s not a long time ago. We have a very hard time with each other, and he has a very hard time with me because he didn’t go after a solo career and I did. He should have and he didn’t and it’s not my fault. But he blames me.”

So, when she said that, she kind of revived some of the comments she used to make so long ago when they didn't get along like:

I mean, I had platinum records and sold-out tours. Why did I need to be treated like this? There was plenty of jealousy in the air, but I felt so beaten down that I wanted to run away and hide."

Originally Posted by JazmenFlowers

what's wrong with that though? has Lindsey said, "wow, Landslide is such a poignant and timeless classic"? as for Stephanie...she's always said that...and she even said because it means the most to her because he named it after her. she never has to think about it maybe because that answer never changes.

There's nothing wrong with that. I never said there was. In fact, although I think they dislike more songs than they like of each other's I don't see a problem with that. I think the beauty of FM is that you have 3 very different song stylists working together.

No Lindsey has never said Landslide was a timeless classic. I never wanted him to say it and he may not think it is. I don't judge either of them if they don't like each other's music. As for Stevie saying Stephanie was her favorite song, she did have to think about it quite a bit before answering. That's what I found funny. She answered her favorite song of Christine's but had to think of one for Lindsey and I got the impression that none sprang to mind that quickly.

Vanessa, I don't think the problem with Lindsey and Stevie has to do with them singing with their mics closer together. Judging from Say Goodbye, I don't think Lindsey actually has a problem with doing that, but it did make Stevie and Mick look ridiculous for suggesting it.

As for Lindsey not complaining, I think I actually posted about 70 different UTS interviews from him and he complains in all of them. He still complains about Tusk quite regularly. However, he makes it known that he enjoyed the SYW tour quite a bit and pointed out that other people may not have enjoyed it as much as he did. Then, he said he got in trouble for saying that "they" might not have liked it.

I think the problem with Stevie and Lindsey right now is recording. He wants to do new music and not a rehash and she doesn't want to do new music. He doesn't want to do a pure nostalgia tour. I think that when they have been discussing the issue of whether or not to record the new music that Tusk probably did come up. Yes, I do think they are basically still arguing about the same creative needs that led him to want to do Tusk in the first place.

Lindsey would probably flip another solo album into a FM album, if Stevie would be willing to make a new one too. I do think he is still trying to get her to do something new and fresh and different, to push the envelope and whenever he talks about that need, he talks about Tusk. I do think they still talk about Tusk.

When Stevie hears something like Red Rover or Morrow, I am sure her first reaction is the same as it was when she first heard those Tusk songs:

If Lindsey had his way we'd be back to the garage anyway with nothing but garbage cans and worse yet full of garbage and four track recorders so he's very in to that. I personally, myself, don't want to go back and use garbage cans. I personally like the new recording technique cause I like to sound good and I like to sit and listen to it so I'm not really into it. But I like some of ths stuff that some of those new bands are doing and long as it sounds like funky old rock and roll, I like it. As soon as it starts to sound like Mars I don't like it.

No, I don't really think they are arguing about the guitar pick any more, but he does still have to mention it in 1 out of 5 interviews. And if the band would just apologize to him for asking him not to use one in 1906, maybe I could get a little rest at night. Of course, now he's using a guitar pick voluntarily himself, not just in the studio, but on stage as well. He does it to get a certain sound, but he won't say exactly what sound he is going for. So, I'm thinking the unprecedented pick probably has something to do with age. Probably arthritic. Poor fellow. Mind and body slipping away like that.

Michele

[highwaywomen]

I've read most of this thread and I thought I would throw in this quote from the book "Conversations with Tom Petty" by Paul Zollo. It came out in 2005. Pages 74-75.

Stevie came to me around '78. And she was this absolutely stoned-gone huge fan. And it was her mission in life that I should write her a song. And we were a little wary of Stevie. We didn't quite know whether to like Stevie or not, because we kind of saw this big corporate rock band, Fleetwood Mac, which was wrong, they were actually artistic people. But in those days, nobody trusted that sort of thing and we just kept thinking, 'What does she want from us?' And then, of course, she turned into one of my great, great friends forever. But Stevie was really adamant about me writing her a song.

And so I think that around late '78, she approached me about producing her first solo record. Now Stevie, there's a Cecil B. DeMille movie. This is a person that's larger than life in a hundred ways. And I loved her voice. I thought she sang great. And I said okay and I went down to the session to produce a record for her. I went down and I did one track and it was a completely different world from anything I had seen. Dealing with girls was a whole different thing and Stevie was in a whole different place than we were.

Emotionally?

[Laughs] Every kind of way. She was very sweet and we liked her. But she had just a whole different kind of work ethic than we had, and there were a lot of people, a lot of hangers-on. The whole Elvis kind of theme and a big entourage. We'd never been a very big fan of that. And so after a track I went, 'Look I can't do this. I don't have the time. I'm too busy and I don't think that I'm going to be a big help to you. But I know a guy who might be good for you named Jimmy Iovine.' And so, as time went by, and we hung out a big, we got to know her more and more, she would come over to my house and just hang out and play records or whatever. And we'd sing a bit. We used to sit around and play the guitar and sing.

Sing harmony?

Yeah, just anything.

She's a great harmony singer.

She's incredible. We could make a pretty good sound, singing with the acoustic guitar.

[highwaywomen]

Found this article on Nicks Fix...kind of rushed right now so I'm sure there are more.

http://http://www.nicksfix.com/artic..._may7_2001.htm

The Toronto Star
May 7, 2001
--------------------------------------------------------------------------------
Stevie kick-started
Singer fit and contented as she prepares to set out on tour

Vit Wagner
Pop Music Critic

Stevie Nicks is getting by with a little help from her friends. But not too much help.

Trouble In Shangri-La, the new solo album by the famous Fleetwood Mac vocalist, was kick-started over dinner with long-time friend, the songwriter and guitarist Tom Petty. It was 1995, the year after the release of the unsuccessful Nicks' solo outing, Street Angel, and the singer was having a hard time moving forward artistically.

"I said to Tom, `When you get back to L.A. could we work on a song together?' I didn't ask him to write me a song. I just wanted to work on something together," Nicks said during 20-minute interview at the Sutton Place Hotel yesterday.

"He knew that was a red flag because I don't ever ask anyone to help me write a song. I am a solo writer. I don't collaborate.

"He said, `No, I'm not going to help you. Get over whatever it is that's bothering you and go home and write some songs. That's what you do. That's your life. You're not married. You don't have kids. You gave up all that so that you could be a songwriter par extraordinaire, that you could travel and do whatever you wanted to do and be free. And for you to ask me to help you write a song is really not a good thing.'

"Coming from Tom that was a very good thing. Coming from anyone else, I probably wouldn't have listened."

Trouble In Shangri-La, released last Tuesday, doesn't list any Petty writing credits. It does, however, include a song, "That Made Me Stronger," that is about the encounter, as well as a very detailed acknowledgement: "Special thanks to Tom Petty for his inspirational lecture over dinner at the Ritz-Carlton in Phoenix, April 24, 1995. I returned home and began writing these songs."

While Nicks doesn't like sharing writing duties, she isn't opposed to recording another writer's material, if it strikes her fancy. "Every Day," one of the more striking numbers on the CD, was sent to her by songwriter John Shanks, who also ended up co-producing "Planets Of The Universe," one of three songs on the album that Nicks actually penned in the `70s, this one concerning her rocky relationship with Fleetwood Mac cohort and former beau Lindsey Buckingham.

"Lindsey, who has heard me play `Planets Of The Universe' a million times on the piano, said, `I'm very impressed with John Shanks' work on `Planets Of The Universe' because I've heard that song for 25 years and have never known what to do with it.'

"Sometimes you need the right people at the right time," Nicks continued.

"You can have a really good song and your producer doesn't get it. Most times you just drop it."

Friendly help also came from chum Sheryl Crow.

In addition to singing on the album, along with Sarah McLachlan and Macy Gray, Crow produced several songs and wrote one of them, "It's Only Love," as well.

"(Crow) told me she had written a song for me and about me," Nicks recalled. "I've known Sheryl for about four or five years and have pretty much told her my whole life. In my heart, I was thinking, `Gosh, I hope I like it,' because I don't want to have to tell Sheryl Crow I don't like her song. But I did like it. It really is about the life of a rock star and the turmoil we come through ."

For Nicks, that turmoil included a decade-long addiction to cocaine that ended in 1985, only to be followed by an even more debilitating eight years on tranquillizers. The cocaine period generated a lot of music, at least, including the 25-million selling album Rumours.

"I call them the cocaine and brandy years, the raucous, rock and roll years, from 1975 to 1985. I don't ever want to say anything that will make someone think, `Well, I'd better run out and do some of that so that I can write something too.' But we did a lot of great work. You can't fight that.

"I've always tried during interviews to stress that, `If somebody ever says let's put you on a tranquillizer and you are any kid of artist, run away screaming, because you will love your bitter, little, angst-ridden personality a lot more than what you get from the other end of the spectrum. You'll gain weight, nobody will ever like you anymore, you won't be fun or interesting and you'll just lay around doing nothing."

Nicks, who has lost 25 pounds and will turn 53 later this month, is looking fit and contented as she prepares to set out on a tour that gets under way on July 6 in Pittsburgh. No Canadian dates have yet been set.

Work will also begin sometime this fall on a new album by Fleetwood Mac, which has stayed in touch after a successful, 1997 reunion tour.

[michelej1]

Regarding them placating each other, another moment I liked on Destiny Rules is when Stevie comes in with that spirit catcher and Lindsey politely inquires as to whether she wants to put it on her side of the room. In his mind he was probably thinking, "Are you going to put that big ugly thing somewhere where the rest of us don't have to look at it?"

I also liked it in Rock Express:

Stevie adds, "Lindsey is absolutely against duplicating anything. So if he even thinks that people are gonna think he's trying to duplicate, he will go so far the other way. So the best thing to do with Lindsey is to not even remind him, so that he doesn't get too radical. 'Cause you know, he's just one of those men, he'll get totally radical. 'I'm not going to do anything like the last one, for my own cultural growth and the pursuit of art.'"

It just gave me this image of the band figuring out the best, delicate way to handle Lindsey so as to keep him from going overboard. Sometimes they fight and sometimes they kind of use psychology and humor each other and I think it's always fun when that happens.

Another thing I like is the Tusk documentary where Lindsey is asking Stevie whether she has some lyric sheets for him and she says something like, "No, I didn't write any lyrics down for you because I didn't know you would sound so beautiful singing the song." What she could have said if she hadn't been in a sweet mood was: "No, there are no lyrics for you, because I didn't plan for it to be a duet!"

Michele

[danax6]

Originally Posted by michelej1

Vanessa, I don't think the problem with Lindsey and Stevie has to do with them singing with their mics closer together. Judging from Say Goodbye, I don't think Lindsey actually has a problem with doing that, but it did make Stevie and Mick look ridiculous for suggesting it.

It wasn't meant to be taken that literally. I was saying that he doesn't feel like going through that whole charade again, which is apparantly what they were discussing before they had even agreed upon touring, much to Lindsey's dislike. He talked about that aspect of Fleetwood Mac and seemed less than enamoured by it all. It's been beaten to death, let's all move on. He knows Rumours was only that big of a success because of people's voyeuristic natures. He mentions that every chance he gets also.

Sure, I do think that Lindsey would like to do another album, he's been saying that ever since they finished Say You Will, no surprises there. And yes, Stevie's been less than enthused about the idea, but that still doesn't have anything to do with her liking Tusk or not, which was the initial point of the discussion. And if her mind is set on not recording, it definitely doesn't do her any good to say she liked Tusk for the heck of it. Like I said, it doesn't serve her any purpose at the moment and I just don't think it went down like that.

As for the 70 articles you posted where he seemed to be complaining about Fleetwood Mac and its music... that stuff has been going on for decades, it's nothing new. He gets asked about it every freakin' time, and he answers. What other answer is he supposed to give? To me it comes across as him explaining how certain things came about, not complaining about it. If you want to look at what's going on right now you have to disregard the same old-same old that gets said year after year, because it's just not relevant. That's only what interviewers keep hammering on, because very few of them read up on current affairs and most love to dwell on the past.

[danax6]

I don't think anyone here is arguing you on this, but I get a kick out of their Placate Moments, so I have to chime in.

Originally Posted by michelej1

Regarding them placating each other, another moment I liked on Destiny Rules is when Stevie comes in with that spirit catcher and Lindsey politely inquires as to whether she wants to put it on her side of the room. In his mind he was probably thinking, "Are you going to put that big ugly thing somewhere where the rest of us don't have to look at it?"

Not sure if I saw this as a Placate Moment. I honestly think that after 40 years of knowing her and having spent six of those years sharing an apartment with her, he's used to that stuff. When asked about it during a radio interview he didn't get pulled into the making-fun-of-Stevie. He remained a perfect gentleman, answering honestly without a hint of mockery, when he could have easily chosen a different direction.

Another moment that does really crack me up is the Tango interview they did together. I think someone posted the youtube link a while ago, but I have it on dvd somewhere. The reporter asks what it was really like to work with Lindsey on Tango and instead of answering truthfully she says it was great because although it wasn't as much fun, they got an awful lot more done. Considering she said the following a year earlier, you just know she would have loved to answer that differently...

Asked whether Lindsey's a perfectionist: “Utter. To the point of "why can't you just come and play?", and it's like, "well I can't just do that". And that's the reason, and I love Lindsey, but that's the reason that Lindsey and I aren't together. It's because I'm radical, you know, it's like, I just want to play, I just want us all together here, and set up some microphones, and a camera and I just want to play. And Lindsey, it needs to be perfect for Lindsey and so his perfection drives me crazy because I think he doesn't have any fun, and my radicalness drives him crazy because he thinks I'm not as good as I should be.”

[michelej1]

Originally Posted by danax6

He talked about that aspect of Fleetwood Mac and seemed less than enamoured by it all. It's been beaten to death, let's all move on. He knows Rumours was only that big of a success because of people's voyeuristic natures. He mentions that every chance he gets also.

See, I don't perceive Lindsey as pulling away from that aspect of Rumours. I see him as wanting to distance himself from wanting to feed the commercial monster and from the expectations that you will do something that is widely accessible. I think he wants to do fulfilling music, even if it appeals to a much narrower group of people and that's how he wants to distance himself from Rumours. I don't think he really minds the voyeuristic aspect.

Some things may be orchestrated by Stevie and/or Mick, but some things seem to be totally within his province. So, I don't think he's above playing upon that personal history himself for the benefit of showmanship, with the Tusk dance and with the way they stared at each other throughout the performances of Say Goodbye. Also, my favorite moments during The Dance tour also came from contact that Lindsey initiated, chasing after her during Silver Springs and running her down for a kiss during GYOW. Or just nuzzling her neck or the way he started ending Don't Stop with his head on her hair during the SYW tour. I think there's a certain part of the voyeuristic appeal that fuels him on stage too. The audience is charged by certain contact and he appears to be too. So, I don't think he really had a problem with Mick and Stevie's suggestion, but when he mentioned it in the interview, they did look silly.

I would agree with you that he does answer some questions the same, because that's all he gets asked. On his own he wouldn't talk about his feelings during the recording of Rumours again and again. The reporters push him into that corner. However, in explaining what he was striving for with UTS, he often initiated the Tusk comparison himself, because that's an important reference point for him, just as important as Smile is.

I don't know under what circumstances Stevie told Lindsey Tusk was her favorite album, if any. I'd like to hear her say it myself and then I'd form conclusions based on what she said. But the scenario where I see her placating him is kind of like the double album dilemma on Destiny Rules: You know: Lindsey it's not your music. It's the economy. I love your music. It's the best you've done and I appreciate what you've tried to do here and we all want you to be happy. But I don't think the public has the money to spend on a double album. These people aren't hippies smoking pot anymore. They are adults with mortgages and they won't buy a double album.

In the same vein when she says to him, like she said in interviews, that she doesn't feel like putting out a new album that no one is going to buy, I can see her softening that blow by saying, it's not that the album wouldn't be good. She would explain that Tusk was good and she loves it now, it's her favorite, but that the record business has changed so much that she thinks it would be suicide to take a Tusk risk again and explaining that they couldn't tour on a 2008 version of Tusk, like they did in 1979-1980. That's how I see the Tusk discussion continuing today.

When she says that (1) Lindsey blames FM for breaking him and Stevie up and (2) Lindsey blames FM for not letting him make the kind of music he wants and when she says maybe Lindsey will have an epiphany and realize that he has nothing to complain about, then I do conclude that he probably has recently been complaining to her about not getting to make fresh music and I don't think there's anyway to make that comment without revisiting his Tusk disappointment in the band.

I don't blame him for complaining. I want him to hold his ground. To me, she wants to tour. There was awhile that I feared she might get a Vegas contract, but I don't think that's likely anymore. So, I think she wants to tour with FM. If Lindsey refuses to tour unless they have new music to perform, I think she will eventually give in and that's what I'm hoping for.

but that still doesn't have anything to do with her liking Tusk or not, which was the initial point of the discussion.

Really? My initial point didn't start off there at all. Mine was that I don't see why it's a surprise that Stevie doesn't praise her boyfriends' music since they don't praise hers. Then, the discussion just snowballed into about 100 different things, not one initial point, from my perspective. As for whether Stevie likes Tusk or not, I don't believe it's her favorite album, but would relish hearing her say so. I believe that to this day she doesn't think it should have been a double album. But I've always thought that she liked at least half the songs on it, so it's not my position she doesn't like the album, at least part of it.

As for the guitar pick, I don't think any journalist asks him about that. I don't think 90% of the reporters know about it or care. I think it's just something that stuck in his craw for over 30 years now and he keeps bringing it up. It's kind of quirky to me. Michele

[michelej1]

Originally Posted by danax6

I don't think anyone here is arguing you on this, but I get a kick out of their Placate Moments, so I have to chime in.

Not sure if I saw this as a Placate Moment. I honestly think that after 40 years of knowing her and having spent six of those years sharing an apartment with her, he's used to that stuff.

Well, in a way I agree. Plus, I don't think he's Mr. Decorator guy either. As long as he has a place for his things, I don't know if he cares about his surroundings. When Stevie said she used to sew moons and stars on his jeans, that did lead me to the conclusion that he pretty much let her do what she wanted along those lines.

Another domestic thing I liked, though we've only heard one side of the conversation, is the whole Landslide argument where Stevie says he left and he took her dog. Well, you could get the impression that he just took her dog and her car to be mean, since they were arguing at the time. But I can just hear her giving him the "my father is vice president of Greyhound and I don't need to drive back to Los Angeles with you. I can go anywhere in the nation I want." So, the reason he took the dog is that if she was going back home on the bus (or the plane where she ended up), the dog couldn't go with her.

It's just funny to me that after a big fight, Lindsey is driving home alone with the poodle, stopping on the side of the road, letting it go to the restroom, etc. It's just a funny picture. I also had to laugh when Town and Country did that spread with Kristen and there was a big black poodle on his lawn. It tickled me when they asked John about dogs and he said he thinks Lindsey has a big poodle. I could imagine him getting teased about it. Of course, the picture of him holding the kitten in CAH's book is very sweet too.

Michele

[SandyMac]

Originally Posted by darklinensuit

I love the line about sticking the cigarette in her nose. "Ma, make crazy Aunt Stevie stop it, she's embarrassing me in front of my friends!"

- Jake

LOL, OMG, I laughed so hard at that. I am so picturing Stevie walking into a room and saying that and acting all goofy or being dead serious

[SandyMac]

Originally Posted by Hawkeye

who wants to make bets that in a few years we'll be hearing about the horrors of Neurontin:



USA Today, May 2018
Stevie Nicks looks towrds the Edge of Seventy

Stevie is currently working on a chilldrens movie based on her song Goldfish and the Ladybug, which she says is for real this time. She's 100 percent happy right now but recalls how her late 50's were stolen from her by a drug she thought was helping her menapause.

"Yeah that freaking Neurotin just like caused me to forget 70 percent of my songbank. I could only remember about 15 of my songs, it was awful.
.
.
.
.
.
Oh yeah and Lindsey sucks.

OMG, LOL, I know I am late to the discussion, but I burst out laughing while reading this. PRICELESS

[danax6]

Originally Posted by michelej1

See, I don't perceive Lindsey as pulling away from that aspect of Rumours. I see him as wanting to distance himself from wanting to feed the commercial monster and from the expectations that you will do something that is widely accessible. I think he wants to do fulfilling music, even if it appeals to a much narrower group of people and that's how he wants to distance himself from Rumours. I don't think he really minds the voyeuristic aspect.

Some things may be orchestrated by Stevie and/or Mick, but some things seem to be totally within his province. So, I don't think he's above playing upon that personal history himself for the benefit of showmanship, with the Tusk dance and with the way they stared at each other throughout the performances of Say Goodbye. Also, my favorite moments during The Dance tour also came from contact that Lindsey initiated, chasing after her during Silver Springs and running her down for a kiss during GYOW. Or just nuzzling her neck or the way he started ending Don't Stop with his head on her hair during the SYW tour. I think there's a certain part of the voyeuristic appeal that fuels him on stage too. The audience is charged by certain contact and he appears to be too. So, I don't think he really had a problem with Mick and Stevie's suggestion, but when he mentioned it in the interview, they did look silly.

But the difference between The Dance and SYW was that during the former the interaction at least appeared to be genuine and I think it really was. Those SYW moments were born from once genuine moments, but someone decided to keep them in because of the reaction the audience had to them. There has always been a certain chemistry on stage, as far back as the early days, but that was always rooted in sincerity. Whether it was anger or passion or love, it shone through, and that's what made it interesting. The SYW tour was a desperate attempt to keep that fire going even though nobody was really feeling it. That was the turning point in when it stopped being completely about the music and the emotions it provoked and it became about putting forth some act to keep the masses interested. It was rather pathetic actually. To think that they are concocting that bull**** before they even have any dates planned is quite scary, and I really, honestly think Lindsey wants nothing to do with it. At least not to the point where they have to have a script ready. I'm not too sure Lindsey likes the voyeuristic aspect, and definitely not when it becomes something contrived. He's always been a loner. During Fleetwood Mac's heyday he mentioned a few times that he likes the fact that he can still walk the streets without too many people bothering him. He's not so much the spotlight kind of guy, unless he's up there humping his guitar, because that's what he does best. The rest he doesn't really care for. And he's definitely not one for pleasing the masses.

~you're not like other people, you do what you want to~

I would agree with you that he does answer some questions the same, because that's all he gets asked. On his own he wouldn't talk about his feelings during the recording of Rumours again and again. The reporters push him into that corner. However, in explaining what he was striving for with UTS, he often initiated the Tusk comparison himself, because that's an important reference point for him, just as important as Smile is.

But that's exactly what I meant when I was saying he's not complaining, he's explaining.

In the same vein when she says to him, like she said in interviews, that she doesn't feel like putting out a new album that no one is going to buy, I can see her softening that blow by saying, it's not that the album wouldn't be good. She would explain that Tusk was good and she loves it now, it's her favorite, but that the record business has changed so much that she thinks it would be suicide to take a Tusk risk again and explaining that they couldn't tour on a 2008 version of Tusk, like they did in 1979-1980. That's how I see the Tusk discussion continuing today.

I can see where you're coming from, but to me that's reaching, because there's no telling what vision Lindsey has for a new Fleetwood Mac album. In fact, we aren't even sure that's what he's hellbent on right now. To me it seemed he had already resigned to the fact that there won't be a new album.

When she says that (1) Lindsey blames FM for breaking him and Stevie up and (2) Lindsey blames FM for not letting him make the kind of music he wants and when she says maybe Lindsey will have an epiphany and realize that he has nothing to complain about, then I do conclude that he probably has recently been complaining to her about not getting to make fresh music and I don't think there's anyway to make that comment without revisiting his Tusk disappointment in the band.

Yes, when you paste all of Stevie's ramblings together, that would certainly be a conclusion you could draw, but I don't see it as black and white. One thing that needs to be taken into consideration is that though he had ample opportunity to continue on his own in the 90s, he went back to Fleetwood Mac. Put his own album on hold, did a reunion, kept keeping his own album on hold until he himself made the decision to turn it into a Fleetwood Mac album, thinking he had at least Mick on his side. I think what Stevie was reflecting on was what went on during the recording of that particular album, when indeed he wanted to take the Tusk route.

But, that still doesn't mean she lied about Tusk being her favorite album just to placate him. Every argument she offered was the truth, and nothing but. Even her cringe-worthy prayers to the commercial gods.

I don't blame him for complaining. I want him to hold his ground. To me, she wants to tour. There was awhile that I feared she might get a Vegas contract, but I don't think that's likely anymore. So, I think she wants to tour with FM. If Lindsey refuses to tour unless they have new music to perform, I think she will eventually give in and that's what I'm hoping for.

I guess that's why we have such different views on the whole matter, because a. I don't think she's really set on touring and b. I don't think Lindsey's holding out because he is set on doing an album before going on the road. I think if we agreed on this, we might have been able to agree more on the other matters also.

Really? My initial point didn't start off there at all. Mine was that I don't see why it's a surprise that Stevie doesn't praise her boyfriends' music since they don't praise hers. Then, the discussion just snowballed into about 100 different things, not one initial point, from my perspective.

Because I agreed on the lack of praising. The Tusk thing was the only thing I really disagreed on, so that's where the real discussion originated. Everything after that was both of us trying to prove a point by bringing in semi-related events and point of views. But all the roads lead to that damn Tusk album!

[danax6]

Originally Posted by michelej1

Another domestic thing I liked, though we've only heard one side of the conversation, is the whole Landslide argument where Stevie says he left and he took her dog. Well, you could get the impression that he just took her dog and her car to be mean, since they were arguing at the time. But I can just hear her giving him the "my father is vice president of Greyhound and I don't need to drive back to Los Angeles with you. I can go anywhere in the nation I want." So, the reason he took the dog is that if she was going back home on the bus (or the plane where she ended up), the dog couldn't go with her.

It's just funny to me that after a big fight, Lindsey is driving home alone with the poodle, stopping on the side of the road, letting it go to the restroom, etc. It's just a funny picture. I also had to laugh when Town and Country did that spread with Kristen and there was a big black poodle on his lawn. It tickled me when they asked John about dogs and he said he thinks Lindsey has a big poodle. I could imagine him getting teased about it. Of course, the picture of him holding the kitten in CAH's book is very sweet too.

And if we are to believe Stevie, she sent him home with the car twice after a big fight. Once in Aspen and once in Sausalito. The book about Warron Zevon made me think this over again, because following that timeline, didn't Lindsey go back on the road with Don Everly after Stevie's visit in Aspen? If so, it was really impossible for him to drive the car back to LA. I wonder if she took the Greyhound to Aspen in the first place or if she flew out there. Or if she's just mixing everything up and there wasn't even a car. Or a blizzard. Or a fight for that matter.

[Johnny Stew]

Originally Posted by michelej1

I don't think the problem with Lindsey and Stevie has to do with them singing with their mics closer together. Judging from Say Goodbye, I don't think Lindsey actually has a problem with doing that, but it did make Stevie and Mick look ridiculous for suggesting it.

I actually agreed with Stevie and Mick on that. Every photo I'd see from the SYW tour, every concert vid I'd watch, I never understood why there was such a huge amount of space between Stevie and Lindsey's microphones.
I seriously think two adult males could lay on the stage, head-to-toe, between them, and there'd still be room leftover.

Did Simon and Garfunkel stand that far apart when they performed? Did the Everlys? I couldn't care less about the "drama" or the "are they/aren't they" stuff, but I do think the visual distance between Stevie & Lindsey makes the dynamic between the two performers seem less intimate.