IYD Press Reviews & Discussion

[michelej1]

The Observer, June 26, 2011 by Kitty Empire
Rating 2 out of 5 stars
http://www.guardian.co.uk/music/2011...-dreams-review

It would be naive to expect anything other than a slick album from the big-hatted queen of 70s AOR, flanked by a white horse on the album's cover. But the combined forces of producers Dave Stewart and Glen Ballard make this seventh solo offering from the former Fleetwood Mac singer far more of a blanched listen than Stevie Nicks deserves. The songs can be intriguing (the coyly autobiographical "Secret Love"); "New Orleans" reiterates her raison d'etre amid the wreckage of the city: "I wanna dress up, I wanna wear beads, I wanna wear feathers and lace…" The least overcooked song, "Soldier's Angel", meanwhile, leaves Nicks's trademark nasal vocal alone. If only there were more like it.

[jellyman10]

^^^ Sigh. Spoke too soon, didn't I? I'm going to bed.

[PenguinHead]

Originally Posted by michelej1

The Observer, June 26, 2011 by Kitty Empire
Rating 2 out of 5 stars
http://www.guardian.co.uk/music/2011...-dreams-review

It would be naive to expect anything other than a slick album from the big-hatted queen of 70s AOR, flanked by a white horse on the album's cover. But the combined forces of producers Dave Stewart and Glen Ballard make this seventh solo offering from the former Fleetwood Mac singer far more of a blanched listen than Stevie Nicks deserves. The songs can be intriguing (the coyly autobiographical "Secret Love"); "New Orleans" reiterates her raison d'etre amid the wreckage of the city: "I wanna dress up, I wanna wear beads, I wanna wear feathers and lace…" The least overcooked song, "Soldier's Angel", meanwhile, leaves Nicks's trademark nasal vocal alone. If only there were more like it.

I'm truly surprised that many of the reviews are so negative. What do they expect from her? Obviously they have a tentative, limited awareness about her solo work. Otherwise they would understand what this album represents in terms of her history.

I have a bitter, pathological, caustic, alcoholic friend, who makes snap judgements based on negative assumptions. He's not a die-hard fan of Stevie or Fleetwood Mac, but we've attended several Fleetwood Mac shows together. I sent him the In Your Dreams CD to him, thinking he would really enjoy it. I told him to listen to it several times before making any judgements.

Of course he only listened to it once and called to tell me "it's not good." "She needs to do songs like Stop Dragging My Heart Around." I failed to mention that was a Tom Petty song.

Really, no redeeming value at all? It's then, after 31 years of a rocky friendship, I've come to realize there will be nothing in his life that will escape his negative perspective. I must relieve myself of his presence in my life. Of course he, in his myoptic manner, will think it's over Stevie's album, but that was just a catalyst.

**** him. **** the critics.

[vivfox]

Originally Posted by PenguinHead

It's then after 31 years of a rocky friendship, I've come to realize there will be nothing in his life that will escape his negative perspective. I must relieve myself of his presence in my life. Of course he, in his myotic manner, will think it's over Stevie's album, but that was just a catalyst.

**** him. **** the critics.

Is this the friend of yours that told you I was gonna try to get into your pants?

[jellyman10]

Originally Posted by PenguinHead

I'm truly surprised that many of the reviews are so negative. What do they expect from her? Obviously they have a tentative, limited awareness about her solo work. Otherwise they would understand what this album represents in terms her history.

No, trust me: these reviews are far, far better than anyone could have expected from the too-cool-for-school British media. I was bracing myself for them all to be on the level of the NME, but of the ones I've seen I'd say they're mostly great, good or mixed, with only the odd stinker. Maybe I've not seen them all, though.

Even this one from the Observer is typically irritating. The writer has issues with Dave's production, mainly. The writer clearly likes Stevie - or at least her voice - on some level. So you'd think that might make her not bury or backslant her praise quite as much as she does. But no. And these 'reviews' are so short, they're designed to be scanned in a few seconds so the reader can make a(nother) snap judgement.

I sympathise with you over your friend, Penguinhead. His loss, though.

Loz

[Macfanforever]

I dont listen or read reviews about any artists.most of them are full of baloney.they have their favorites or artists they hate.

[David]

Reading the reviews in the press is no different an experience from reading Ledgie reviews. I like hearing everybody's opinion, whether that of Ledgie or of newspaper reviewer. That's why I hang out at the Ledge & why I blog.

[PenguinHead]

Originally Posted by vivfox

Is this the friend of yours that told you I was gonna try to get into your pants?

You got it! You super slueth! He's such an ass. I told to use the CD as a coaster for his cocktails.

(correction: misspelled myopic)

[PenguinHead]

Originally Posted by jellyman10

No, trust me: these reviews are far, far better than anyone could have expected from the too-cool-for-school British media. I was bracing myself for them all to be on the level of the NME, but of the ones I've seen I'd say they're mostly great, good or mixed, with only the odd stinker. Maybe I've not seen them all, though.

Even this one from the Observer is typically irritating. The writer has issues with Dave's production, mainly. The writer clearly likes Stevie - or at least her voice - on some level. So you'd think that might make her not bury or backslant her praise quite as much as she does. But no. And these 'reviews' are so short, they're designed to be scanned in a few seconds so the reader can make a(nother) snap judgement.

I sympathise with you over your friend, Penguinhead. His loss, though.

Loz

Thank you. Like Stevie said, I'm gracious!

[Artemis]

Originally Posted by michelej1

A rule of thumb here: the dafter the song title, the greater the reward.

Ahahaha. I just laughed like a Japanese Schoolgirl at that. It's quite true for most of Stevie's work as well

I don't know a whole lot about her recent friend Vanessa Carlton's music, but is anyone picking up any similar singing/songwriting style influencing the new IYD CD?

[Livia]

STEVIE NICKS: In Your Dreams.The granite-voiced one has kept up a decent consistency over many years – and there’s some strong stuff in here as she veers from thumping soft rock through acoustic troubadouring to just plain storytelling. If Cliff Richard is the Peter Pan of Pop, she’s the Petra Pan of Rock.

Read More http://www.examiner.co.uk/leisure-an...#ixzz1Squ9yRDs

[Livia]

http://www.jambands.com/reviews/cds/...in-your-dreams

Published: 2011/07/26
by Tina Haase Findlay

Stevie Nicks
In Your Dreams

She could have twirled off to golden-oldie land, resting comfortably on her Gold Dust laurels. She could have taken her forty years’ worth of credentials and retired to a castle in the hills, like her one-time Fleetwood Mac bandmate Christine McVie. But Stevie Nicks shows us with her seventh solo release, In Your Dreams, that she and her mysterious glamour aren’t leaving anytime soon, offering her finest collection of tunes since her breakthrough solo debut, Bella Donna, in 1981.

Faithful followers of this melodic enchantress are well aware that two key ingredients of the Nicks appeal are singular lyric lines and scattered breathtaking moments, as much as entire songs. This principle is in full force here, from her sensual opening line in “Secret Love”, an invitation to “come on, it’s time to go upstairs,” all the way to the wistful coos in the two closing gems, “Italian Summer” and “Cheaper Than Free,” the latter a duet with the project’s main producer, Dave Stewart of Eurythmics fame. Always to his credit, Stewart artfully demonstrates a universal knack for bringing out the best in a female musical partner.

A mid-tempo, mid-album block of three songs- “New Orleans,” “Moonlight (Vampire’s Dream)” (inspired by the Bella and Edward “Twilight” romance), and a newly-arranged take on Poe’s “Annabel Lee,”- sounds sufficiently pleasant, yet somewhat repetitive at first, given the fact that all are in the same musical key with similar rhythm and pacing. Eventually, the unique poetic nuances of each do emerge, aided by the ever-stellar harmony vocals of Stevie’s longtime ladies-in-waiting, Sharon Celani and Lori Nicks.

The choice of a first single can make or break any album, and the pristine vanilla pop of “Secret Love” may not have been the best choice. Some critics would identify such choices as familiar tactical errors of past Stevie solo projects as well. It’s a nice enough, largely undemanding volley into today’s postmodern, musically-eclectic arena; designed as an effort to blend in with the perceived “hip and relevant” sonic palette and undoubtedly helped along by her recent pop culture star power moments on Dancing With The Stars, The Voice, the Fleetwood Mac episode of Glee, and even The Oprah Winfrey Show.

However, where Miss Nicks has always excelled is in the visiting of her extremes. On the ballad side, the new original “For What It’s Worth” possesses gentle “Landslide”-esque loveliness. And the album’s most potent emotional highlight is “Soldier’s Angel”, featuring her legendary romantic partner-in-rhyme Lindsey Buckingham, and is a stunning reminder of the greatness that transpires when the stars of Buckingham Nicks collide. At the other extreme of uptempo vigor and sass, Nicks gives it in spades on the straight-ahead rocker “Ghosts Are Gone” and the unexpectedly peppy title cut which defies its dreamy pedigree and is much more “in-your-face” than “in-your-sleep.”

All in all, kudos are due to Stevie for this stand-out addition to her catalog. Praise must also go to Dave Stewart for his infusions of creativity and playfulness into these proceedings. He’s such a hero of this project that his picture is on the back cover, right next to the still ravishingly alluring Stevie who, along with Kirstie Alley, could be a spokesmodel for the slogan, “60 is the new 40.” Her voice and mystique are showcased in all their gypsy glory, wrapped up in her signature fierce, yet feminine, storytelling style. And every so often, for those who are listening most closely, there are vocal moments that truly recall the sheer brilliance of the chart-topping, globe-trotting Stevie days gone by. Simply put, she continues after all these years to ring like a bell through the night, and her international legion of fans still love to love her.

[BrownEyedGirl26]

Originally Posted by Livia

http://www.jambands.com/reviews/cds/...in-your-dreams

Published: 2011/07/26
by Tina Haase Findlay

Stevie Nicks
In Your Dreams

She could have twirled off to golden-oldie land, resting comfortably on her Gold Dust laurels. She could have taken her forty years’ worth of credentials and retired to a castle in the hills, like her one-time Fleetwood Mac bandmate Christine McVie. But Stevie Nicks shows us with her seventh solo release, In Your Dreams, that she and her mysterious glamour aren’t leaving anytime soon, offering her finest collection of tunes since her breakthrough solo debut, Bella Donna, in 1981.

Faithful followers of this melodic enchantress are well aware that two key ingredients of the Nicks appeal are singular lyric lines and scattered breathtaking moments, as much as entire songs. This principle is in full force here, from her sensual opening line in “Secret Love”, an invitation to “come on, it’s time to go upstairs,” all the way to the wistful coos in the two closing gems, “Italian Summer” and “Cheaper Than Free,” the latter a duet with the project’s main producer, Dave Stewart of Eurythmics fame. Always to his credit, Stewart artfully demonstrates a universal knack for bringing out the best in a female musical partner.

A mid-tempo, mid-album block of three songs- “New Orleans,” “Moonlight (Vampire’s Dream)” (inspired by the Bella and Edward “Twilight” romance), and a newly-arranged take on Poe’s “Annabel Lee,”- sounds sufficiently pleasant, yet somewhat repetitive at first, given the fact that all are in the same musical key with similar rhythm and pacing. Eventually, the unique poetic nuances of each do emerge, aided by the ever-stellar harmony vocals of Stevie’s longtime ladies-in-waiting, Sharon Celani and Lori Nicks.

The choice of a first single can make or break any album, and the pristine vanilla pop of “Secret Love” may not have been the best choice. Some critics would identify such choices as familiar tactical errors of past Stevie solo projects as well. It’s a nice enough, largely undemanding volley into today’s postmodern, musically-eclectic arena; designed as an effort to blend in with the perceived “hip and relevant” sonic palette and undoubtedly helped along by her recent pop culture star power moments on Dancing With The Stars, The Voice, the Fleetwood Mac episode of Glee, and even The Oprah Winfrey Show.

However, where Miss Nicks has always excelled is in the visiting of her extremes. On the ballad side, the new original “For What It’s Worth” possesses gentle “Landslide”-esque loveliness. And the album’s most potent emotional highlight is “Soldier’s Angel”, featuring her legendary romantic partner-in-rhyme Lindsey Buckingham, and is a stunning reminder of the greatness that transpires when the stars of Buckingham Nicks collide. At the other extreme of uptempo vigor and sass, Nicks gives it in spades on the straight-ahead rocker “Ghosts Are Gone” and the unexpectedly peppy title cut which defies its dreamy pedigree and is much more “in-your-face” than “in-your-sleep.”

All in all, kudos are due to Stevie for this stand-out addition to her catalog. Praise must also go to Dave Stewart for his infusions of creativity and playfulness into these proceedings. He’s such a hero of this project that his picture is on the back cover, right next to the still ravishingly alluring Stevie who, along with Kirstie Alley, could be a spokesmodel for the slogan, “60 is the new 40.” Her voice and mystique are showcased in all their gypsy glory, wrapped up in her signature fierce, yet feminine, storytelling style. And every so often, for those who are listening most closely, there are vocal moments that truly recall the sheer brilliance of the chart-topping, globe-trotting Stevie days gone by. Simply put, she continues after all these years to ring like a bell through the night, and her international legion of fans still love to love her.

Tina Haase Findlay really knows how to write a great review and has captured the essence of Stevie, her image and her songs imho!

[michelej1]

Highland Community News
http://www.highlandnews.net/articles...e653413118.txt

Stevie Nicks and Dave Stewart make a good team


Stevie Nicks
By Jules E. Beuck
Published: Thursday, July 28, 2011 5:27 PM PDT

Stevie Nicks is best known for her work with Fleetwood Mac.

She has also had quite a solo career as well. This year saw her touring with Rod Stewart and marked the release of a new Stevie Nicks album. The title of the album is “In Your Dreams” and features thirteen tracks.

Nicks’ back-up musicians include Waddy Wachtel on guitar, Dave Stewart guitar, and Mike Campbell (from Tom Petty’s band) guitar and bass. What helps this album the most is the producers. It is co-produced by Glen Ballard and Dave Stewart of the Eurythmics.

Ballard is well known in the business for his songwriting and producing talents. He has worked with many major artists including Alanis Morissette and Aerosmith.


However, Stewart’s influence is felt much more than Ballard’s. For example, he co-wrote seven of the songs on the album.

The first song on the album and first single “Secret Love” has Stewart’s stamp as it starts and ends as if in the middle. “Ghosts Are Gone” has a Eurhythmics feel to it. It also is a very energetic Rocker.

“In Your Dreams” also has the energy that Stewart brings to his work.

Nicks stated in a number of interviews that writing with Stewart was an eye-opening experience for her.

“I understood why Paul McCartney and John Lennon wrote together … because each had something the other didn’t have.”

“For What Its Worth” has nothing to do with the old Buffalo Springfield song. This is a classic Stevie Nicks soft rocker.

“Moonlight (A Vampire’s Dream)” was inspired by the Twilight movies.

The song “Soldiers Angel” was very important to her. She wrote the lyrics while visiting military in military hospitals.

Nicks brought Lindsey Buckingham in to help with the song. They are the only performers on the song.

According to Nicks, this brought them closer than they had been since “Rumors.” This was closer to how they used to work before joining Fleetwood Mac when they were just Buckingham Nicks.

Nicks said that this is the most fun she has ever had recording an album and it comes out in her singing which is more relaxed than it has sounded in awhile.

They would record for four or five hours, have dinner for about an hour and a half and then go back for two more hours for recording which took place in her own home. She states that when it was over she wanted to cry because she did not want it to end.

“In Your Dreams” is on Reprise Records. It only spent four weeks on the charts but did rise as high as number six. This is an easy album to listen to, whether in the background or if you are giving it your full attention.