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#76
07-28-2010, 05:07 AM
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Love this interview! Thanks, Viv!!
 
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#77
07-28-2010, 06:09 AM
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__________________
 “Remember, in the grand scheme of things, what we do for a living is not very important. After all, we’re not curing cancer here.” - John McVie http://goldduststevie.tumblr.com/
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#78
07-28-2010, 06:10 AM
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I originally posted a disagreement with michelej1 over Annie Lennox lol. But it's not worth getting into and going off-topic. So I'm so excited by this interview. It's funny that the interviewer doesn't ask about the tour's setlist since it is an article about the upcoming concert!
__________________
"They love each other so much, they think they hate each other." Imagine paying $1000 to hear "Don't Dream It's Over" instead of "Go Your Own Way" Fleetwood Mac helped me through a time of heartbreak. 12 years later, they broke my heart.
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#79
07-28-2010, 07:48 AM
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Awesome~ Thank you!!!!
~Jenni♥~
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#80
07-28-2010, 08:28 AM
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Hate away, typical Haters!
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#81
07-28-2010, 10:19 AM
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__________________
 I remember it all...you just had to fall...
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#82
07-28-2010, 02:37 PM
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^When you've admired Stevie and followed her career for 3o some odd years like I have, you tend to develop a bit of a sense of humour. I think if we didn't we'd all be bonkers with some of the silly stuff she says
 It's all in good fun. Lighten up. She's kinda like your favourite anut, you love her to death but my god she says some stupid **** 
__________________ ~Theresa~ 
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#83
07-28-2010, 02:49 PM
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Naturally, the Canadian is the voice of reason.
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#84
07-28-2010, 02:50 PM
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BTW, I think this Carrie girl goes way too far. Does she just sit around and look for trouble?* (* might be a little joke. can you hear my evil laugh?)
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#85
07-28-2010, 04:04 PM
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#86
07-28-2010, 04:16 PM
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jannie and johnnystorms - you guys have a point.
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#87
07-28-2010, 04:34 PM
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Oh, and I could do without the mocking. 
__________________
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#88
07-28-2010, 04:48 PM
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it's also funny to me that the people who resort to ad hominem comments (see the "pathetic" comment upthread) are usually those who take issue with the so-called negativity. i might have called what stevie said a "pile of bullsh*t," but i didn't say y'all were pathetic for eating it up. you may not like what i said, but as i told someone via PM, my opinions are just as valid as the opinions of those who worship stevie's every move. i do speak in hyperbolic and extreme terms because i find them amusing and illustrative. if you don't like that, block me and get over it. 
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#89
07-28-2010, 04:50 PM
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I was just listening to the local classic rock station 103.7 The Band and after playing a Fleetwood Mac song the DJ mentioned that Stevie was working on a new solo album with Dave Stewart which he said would be "her best ever" So the hype is spreading.
__________________
Children of the world the forgotten chimpanzee..in the eyes of the world you have done so much for me. ..SLN.
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#90
08-05-2010, 10:05 PM
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Another new Stevie interview? It's a good one!
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. Last edited by HejiraNYC; 08-05-2010 at 10:20 PM..
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