Hollywood, Fl Review

[strandinthewind]

Originally Posted by David

. . . Plus, Strand is terrifying me, too. He fills my PM inbox with anti-Beethoven screeds. This makes my blood boil & fills my heart with rage. But he's still fun . . . .

-- the sublime





For the record --




and - my personal fav. (of many)

[MacMan]

This review is a little on the harsh side... but kinda funny at the same time. Click the link to leave comments if you like.

Stevie Nicks
Saturday, June 7
Hard Rock Live

Crossfade-Browardpalmbeach.com

Better than: Watching Stevie Nicks 10 years from now.

The body of Stevie Nicks turned 60 last month. Her voice has been 60 for a while.
Maybe it was all that coke in the '70s, or maybe it was that her vocal cords weren’t durable enough to handle her preferred mode of singing. I suspect it was the latter — Stevie’s always cited Janis Joplin as a prime influence, but she never had Janis’s chainsaw pipes, nor the dubious good fortune to die at 27. In the '70s, Stevie Nicks performed like a blues shouter even while her recorded output highlighted a voice better suited to witchy balledeering, and even back then her fans worshiped her primarily as a crone in the making.

She’s not in-the-making anymore — now she really is a crone, and her fans love her for it. They went genuinely ape**** at the Hard Rock Hotel and Casino last night, with the first twelve rows erupting into near-moshing when guitarist Wally Wachtel ended a long solo by segueing into “Edge of Seventeen." The Hard Rock isn’t known for volatile crowds, and the reactions down front were more intensely physical than anything Aerosmith ever got in the same venue. Nicks fans are passionate people.

They’re also, I might add, exactly the same demo you might have seen at a Hillary Clinton rally a few short months ago. They are overwhelmingly white, female, and middle-aged, with a few old hippies tossed in for grit. There’s plenty of lesbians and skinny young white girls who can’t dance, but are willing to try. I counted four blacks in the auditorium. All of these people are madly in love with a white, 60-year-old woman with a sometimes-grating voice and a history of relationship trouble. Their devotion is so intense that, when fully demonstrated, it looks a little creepy.

In the case of the Nicks fans, you can understand why. Despite the shocking limitations of her vocal range — which I’m pretty sure doesn’t even span an octave anymore — Nicks’ performance is surprisingly muscular. Heartfelt too, which is even weirder (how a singer can stay attached to a song like “Gold Dust Woman,” which implores you to “Rock on ancient woman/follow those who pale in your shadow,” is anybody’s guess). Since Stevie’s touring in support of a greatest hits package (Crystal Visions), her current show sticks mostly to the lollipops that even non-Nicksians can dig, but she never sounds tired of the material. Last night, she seemed most engaged when tearing into the most obvious of chestnuts, like a huge, raucous version of “Stand Back” or the long slow build of “Rhiannon,” which she brought to an acceptably molten climax (she’s been fiddling with the end of that song since 1975, and only now has she finally gotten it right). She only seriously faltered when she tried doing something new, like a version of Zep’s “Rock’n’Roll” which was a whole helluvalot more staid than the original, or a version of Dave Matthews’ “Crash Into You” that made you appreciate Dave’s charms as a singer.
The set was under two hours but felt a little longer, probably because Stevie kept darting backstage to change bits of her costume. Since all of her costumes were pretty much identical, it’s hard to say why she bothered. If I were her, I would have used that time to do something about my boots. Stevie Nicks’ footwear looks like some kind of medieval torture device, equipped with huge, cruel heels that force her to do the entire show en pointe. This may be the reason Stevie refused to move around the stage during the show. Not once did she come over to our section, off to the side of stage left. She remained glued to the five feet around her monitors at center stage, and though she seemed mobile enough in that circumscribed little area, it would have been nice to see her up close — especially since those of us at the sides of the arena couldn’t see the video screen mounted behind the drummer (I assume that’s where it was mounted — like I said, I couldn’t see it). We were starved for visual stimulation, but Stevie didn’t care.

The long-time Stevie fan sitting next to me noticed this, and complained about it. She also noted that Stevie should stay the hell away from Dave Matthews songs, and commented on the unfortunate state of Stevie’s vocal cords. Even so, she said she “loved the concert” and thought it was “wonderful.” This is what it means to be a fan of Stevie Nicks, or even Hillary Clinton: it’s not the execution that matters, but the gusto of the attempt.

--Brandon K. Thorp

[David]

Originally Posted by strandinthewind

and - my personal fav. (of many)

I must say, I'm impressed. I'd never have guessed in a million yrs that you even knew what that was. So I expect you'll want to print out this intermediate-level arrangement from my Hal Leonard sheet book & run to a piano with it.



Now what were we talking about? Ah, yes, Stevie Nicks. Thanks for posting the Palm Beach review, MacMan. That's a hoot.

[strandinthewind]

not even in a million year

AS for the last Stvie review - whatever. He ssems more disgusted with the fans vehemence than her is with Nicks.

[michelej1]

Actually, it is a really funny review and when you think of it, the fact that he said in his insulting way that Stevie was still really into her songs is a compliment.

Originally Posted by MacMan

The Hard Rock isn’t known for volatile crowds,

This rather surprises me. I guess my perception of what the "Hard Rock" is really like is all wrong. I've always avoided the Hard Rock in Vegas because I thought it was something raucous and I may have been completely wrong.

Michele

[vivfox]

Originally Posted by michelej1

I guess my perception of what the "Hard Rock" is really like is all wrong. I've always avoided the Hard Rock in Vegas because I thought it was something raucous and I may have been completely wrong.

I always avoided eating out at the Hard Rock in Phoenix because the one time I ate there they blasted the music so loud in the restaurant the waitress couldn't even hear me place my order. I had to scream it to her. And whenever I'd drive past there and people would open the door, even from the road I could hear that loud ass music. This was when it's location was on Camelback Road.

[bellagypsy79]

Originally Posted by greatdarkwing

I was just about to post that!!! This guy needs to seriously seek some help immediately and stop posting. He should also stop stalking Stevie fans Myspace pages (hint hint).

As for the show, I'm going to write this review. Now I will say this, my fandom is no longer what it used to be. Anyone who has been on these boards long enough will know that before I had no issues what-so-ever about traveling to see multiple Stevie shows. However the unchanging setlist was really getting to me. Last night, however, I actually left extremely 100% impressed and reinvigorated in my love for Stevie. As stated above, the setlist was basically the same as Biloxi...

Outside the Rain/Dreams
Stand Back
If Anyone falls
Crash
Rhiannon
Sorcerer
Face the Promise
Gold Dust Woman
Fall From Grace
Landslide
How Still My Love
Edge of Seventeen
Rock and Roll
HAEWAFY

Face the Promise rocked!!!! I was quite pessimistic about hearing a new cover in the set, but this one was great! Stevie was totally getting into it!

Some other tidbits...

Stevie complained and accused Waddy during the band intros of sabotaging the night by tangling her mic strands!! LMAO!! At some point during the night Stevie had tangled the strands all up in a bunch so she couldn't run her fingers through them. Every time she'd pick up the strands, up would follow this big old bunch of knotted strands! It was pretty funny and quite amusing how "annoyed" she was by it.

Im loving these new upper-register notes she seems to be trying to hit. The whole night I kept on looking at my friend and saying, "where in he hell did THAT note come from?!"

Overall it was a great night, and I also agree with Howard Cohen's review that this sets the bar high for FM 2009. I hope she delivers the way she delivered last night!

What is HAEWAFY? Sorry I am a little slow....

[michelej1]

Originally Posted by bellagypsy79

What is HAEWAFY? Sorry I am a little slow....

Has Anyone Ever Written Anything For You?

Michele

[Steviefan49]

Originally Posted by David

You are absolutely right, I feel.

People on the Chain forum are beginning to say that I'm beyond zany, & that I've moved into the realm of "disturbing." I hope this isn't true but I fear it might be. Plus, Strand is terrifying me, too. He fills my PM inbox with anti-Beethoven screeds. This makes my blood boil & fills my heart with rage. But he's still fun.

I love tweaking people. Michele, who runs this place now, knows me from waaaay back, & I used to tweak her nose on other forums. She would get so exasperated that she'd black out or something.
I just hope they stop talking about me negatively on the other forum. That's so embarrassing.

Hey David..

I'm on the Chain forum and don't recall you being on there.. Do you go by "David" there? Or is there another name you use? There's only one person on there who always says that "Stevie is milking us".. and other than that person, I think everyone is awesome there! LOL..

[jwd]

Originally Posted by MacMan

This review is a little on the harsh side... but kinda funny at the same time. Click the link to leave comments if you like.

Stevie Nicks
Saturday, June 7
Hard Rock Live

Crossfade-Browardpalmbeach.com

Better than: Watching Stevie Nicks 10 years from now.

The body of Stevie Nicks turned 60 last month. Her voice has been 60 for a while.
Maybe it was all that coke in the '70s, or maybe it was that her vocal cords weren’t durable enough to handle her preferred mode of singing. I suspect it was the latter — Stevie’s always cited Janis Joplin as a prime influence, but she never had Janis’s chainsaw pipes, nor the dubious good fortune to die at 27. In the '70s, Stevie Nicks performed like a blues shouter even while her recorded output highlighted a voice better suited to witchy balledeering, and even back then her fans worshiped her primarily as a crone in the making.

She’s not in-the-making anymore — now she really is a crone, and her fans love her for it. They went genuinely ape**** at the Hard Rock Hotel and Casino last night, with the first twelve rows erupting into near-moshing when guitarist Wally Wachtel ended a long solo by segueing into “Edge of Seventeen." The Hard Rock isn’t known for volatile crowds, and the reactions down front were more intensely physical than anything Aerosmith ever got in the same venue. Nicks fans are passionate people.

They’re also, I might add, exactly the same demo you might have seen at a Hillary Clinton rally a few short months ago. They are overwhelmingly white, female, and middle-aged, with a few old hippies tossed in for grit. There’s plenty of lesbians and skinny young white girls who can’t dance, but are willing to try. I counted four blacks in the auditorium. All of these people are madly in love with a white, 60-year-old woman with a sometimes-grating voice and a history of relationship trouble. Their devotion is so intense that, when fully demonstrated, it looks a little creepy.

In the case of the Nicks fans, you can understand why. Despite the shocking limitations of her vocal range — which I’m pretty sure doesn’t even span an octave anymore — Nicks’ performance is surprisingly muscular. Heartfelt too, which is even weirder (how a singer can stay attached to a song like “Gold Dust Woman,” which implores you to “Rock on ancient woman/follow those who pale in your shadow,” is anybody’s guess). Since Stevie’s touring in support of a greatest hits package (Crystal Visions), her current show sticks mostly to the lollipops that even non-Nicksians can dig, but she never sounds tired of the material. Last night, she seemed most engaged when tearing into the most obvious of chestnuts, like a huge, raucous version of “Stand Back” or the long slow build of “Rhiannon,” which she brought to an acceptably molten climax (she’s been fiddling with the end of that song since 1975, and only now has she finally gotten it right). She only seriously faltered when she tried doing something new, like a version of Zep’s “Rock’n’Roll” which was a whole helluvalot more staid than the original, or a version of Dave Matthews’ “Crash Into You” that made you appreciate Dave’s charms as a singer.
The set was under two hours but felt a little longer, probably because Stevie kept darting backstage to change bits of her costume. Since all of her costumes were pretty much identical, it’s hard to say why she bothered. If I were her, I would have used that time to do something about my boots. Stevie Nicks’ footwear looks like some kind of medieval torture device, equipped with huge, cruel heels that force her to do the entire show en pointe. This may be the reason Stevie refused to move around the stage during the show. Not once did she come over to our section, off to the side of stage left. She remained glued to the five feet around her monitors at center stage, and though she seemed mobile enough in that circumscribed little area, it would have been nice to see her up close — especially since those of us at the sides of the arena couldn’t see the video screen mounted behind the drummer (I assume that’s where it was mounted — like I said, I couldn’t see it). We were starved for visual stimulation, but Stevie didn’t care.

The long-time Stevie fan sitting next to me noticed this, and complained about it. She also noted that Stevie should stay the hell away from Dave Matthews songs, and commented on the unfortunate state of Stevie’s vocal cords. Even so, she said she “loved the concert” and thought it was “wonderful.” This is what it means to be a fan of Stevie Nicks, or even Hillary Clinton: it’s not the execution that matters, but the gusto of the attempt.

--Brandon K. Thorp

He obviously doesn't get it and to call Stevie a crone is just way over the top and plain stupid. I did a little research on this "critic" and came across his myspace page.

http://profile.myspace.com/index.cfm...endID=16241821

I found this part hilarious and totally explains his idiotic review of Stevie. It was listed under his networking box.

"I have whored my services to theatre troupes; to newspapers; to anthologies and to newsletters. Pay me well and I will supply any species of slop you desire."

Says it all!

[michelej1]

Gulf Coasting Live

http://www.news-press.com/apps/pbcs....306130004/1075

06/13/2008


HOLLYWOOD, FLA. — Her blond hair waving and her costumes flowing — and oftentimes spinning — Stevie Nicks mesmerized a sellout crowd of 5,000 fans with her mystical blend of classic rock.

Nicks, who celebrated her 60th birthday May 26, opened at the Hard Rock Live venue with “Outside the Rain” as she launched into an hour and 50 minutes’ worth of songs.

Nicks covered a mix of her own material and that of the band that made her famous in the 1970s — Fleetwood Mac.

But she also put her own spin on the works of others, playing the Dave Matthews Band song “Crash,” a Bob Seger cover and Led Zeppelin’s “Rock and Roll,” the first song of the encore.

Performing with nine others on stage, Nicks took to the center, flanked by a guitarist, a rhythm guitarist, bass player, drummer, percussionist (he banged on African-style drums among other instruments), a keyboardist, piano player and three background vocalists, including her sister-in-law.

The two drummers came in handy, teaming for a drum duet that energized the crowd before being rejoined by Nicks and the rest of the band for the final song of the set — and her best song — “Edge of Seventeen.”

As the drummers showed off their skills, Backstage, Nicks changed into a white gown. When she came out and turned around and stretched out her arms, her back to the crowd, her arms resembled wings. She transformed herself into the image of a white-winged dove.

“Stand Back,” and “How Still My Love,” were included in her set along with Fleetwood Mac’s “Rhiannon,” “Gold Dust Woman,” and “Landslide,” the latter of which she dedicated to her late father, with snapshots of her and her dad flashing on the big screen behind her.

The emotional moment drew a standing ovation, as did the final song of the evening, “Has Anyone Ever Written Anything For You,” a song she dedicated to injured U.S. troops who were stationed overseas.