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#1
04-09-2009, 11:33 AM
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Bay Area Reporter article
http://www.ebar.com/arts/art_article...ic&article=604
Just in the Nicks of time Music Life after Fleetwood Mac for Stevie Nicks Published 04/09/2009 by Gregg Shapiro Growing up in Chicago, the TV concert series Soundstage was always a source of pride for me, coming as it did from local PBS station WTTW's northside studio. So imagine my excitement when I learned the Soundstage program that Stevie Nicks filmed was being released on DVD as Live in Chicago (Reprise/Warner Bros.), with a companion CD, The Soundstage Sessions (Reprise/Warner Bros.). The 17-song DVD and 10-track CD are bound to elate Nicks' fans, who will delight in her performances of beloved originals as well as songs by Dave Matthews, Bonnie Raitt, Tom Petty and Led Zeppelin. I spoke with Nicks in late March, on the day before The Soundstage Sessions was set for release. Gregg Shapiro: For your first filmed and recorded live show in nearly 25 years, what was it about the Soundstage performance that led you to want to release it as the Live in Chicago DVD? Stevie Nicks: Well, what happened was in 2005, we got an offer to do four shows at Celine Dion's big theater, the Coliseum at Caesar's [Palace]. I was in Maui, and I got a call from my manager and he said, "I need you to come in and see Celine on this stage because she leaves after the show tonight and Elton [John] comes in tomorrow. So you could see Celine and Elton in two days and decide whether or not you'd like to do this because they've offered you four shows." Getting your foot in the door to play Vegas once in a while is not a bad thing. So I'm like sorry, I'm on my Rhiannon-quest here in Maui, so I don't think I'll be able to do that. And he goes, "I'll see you Tuesday." So off I went. My guitar player Waddy [Wachtel] and I watched Celine, then we watched Elton, and we're like, "Oh, my God, we can't do this!" You have to build a world here. This is a massive IMAX theater, and the screens are a hundred feet tall. You can't just take your little rock band in there. We're like, "Can we do this?" Elton filmed everything he ever did, and Celine has Cirque du Soleil. What do we have? So we said, call everybody that we know, and we got every ounce of film that was ever taken of us. Every snapshot, every video for every single. We took a bunch of my drawings and photographed them. We got this artist, Sulamith Wulfing, we got permission to use some of her drawings. So we mixed Sulamith's drawings, my drawings, all the film footage, photographs, gave them to our lighting and stage guy and said, "OK, here it is. Build a world." We did those four shows, and they were great. Then we went to Chicago, rehearsed for three weeks, and filmed it. The songs on the companion CD The Soundstage Sessions are cleaned up, in that the audience response to the songs was edited out. Why did you choose to go that route? I said, "Let's try to make this into a little album. Let's pull the 10 most unfamiliar songs. Let's take the Fleetwood Mac songs out, and put in 'If Anyone Falls,' 'Sorcerer,' the Dave Matthews song, and the Bonnie Raitt song. Let's put the unfamiliar things from the show on the disc, take the applause off, go to Nashville and redo some vocals, add some strings, and make this a distinctly different piece of work that can go out along with this DVD." Your song "Landslide" has been covered by Dixie Chicks, Smashing Pumpkins, and Ann Hampton Callaway. How do you feel when you hear other people's interpretations of that song? I love it when people take it upon themselves to interpret something. It's no different, really, than me trying to interpret "Crash into Me" by Dave Matthews. Who would have ever thought that I would do that? So who would ever think that people would try to do "Landslide?" Because most people would be like, "Oh, that's a Stevie Nicks song, I can't do that." The fact that somebody is brave enough to do that is great! Every time somebody does "Landslide," it takes my music and spreads it out over the world. Your songs "Edge of 17" and "Gypsy" inspired the gay coming-of-age movies Edge of Seventeen and Gypsy 83. Have always been aware of your gay following? I became aware of it with Night of a Thousand Stevies . I am thrilled and honored that the gay community backs my music. I always kid that one day, all you Night of a Thousand Stevies people, one day I'll be there, in complete dress, and you won't know it. I'll be hulking around somewhere, standing behind you, so be careful what you say, because I could be standing next to you at any moment! 
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#3
04-09-2009, 02:13 PM
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"So I'm like sorry, I'm on my Rhiannon-quest here in Maui, so I don't think I'll be able to do that."
 What exactly is that? A movie or something?
__________________ ~Theresa~ 
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#4
04-09-2009, 05:50 PM
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Michele
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#5
04-09-2009, 05:57 PM
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I don't know about in 05, but in the 70's and possibly very early 80's La Nicks was into this project. She did lots of work on it. I believe she got it finalized enough not only to pitch it, but she got into the contractual, pre-production part of it.
I'd think there was enough from that (the songs, storyboards, etc. ) to where she could revisit, fine tune, and shop it. If she sang it like she sang "Call on Me for Magic," then she could nail the "Rhiannon" series of songs. Granted, it would not be the magic voice of the 70's, but it would still kick a$$ 
__________________
 save the cheerleader - save the world
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#6
04-09-2009, 06:10 PM
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 More than likely that's what she was doing...only her pineapple was peeled...
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#7
04-22-2009, 04:55 PM
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I found the longer (and complete) version of this interview:
In the Nicks of time: an interview with Stevie Nicks By Gregg Shapiro Contributing writer Growing up in Chicago, the TV concert series “Soundstage” was always a source of pride, coming as it did from local PBS station WTTW’s North side studio. So imagine my excitement when I learned that the “Soundstage” program that Stevie Nicks filmed was being released on DVD as “Live in Chicago” (Reprise/Warner Brothers DVD) and that there would also be a companion CD, “The Soundstage Sessions” (Reprise/Warner Brothers). The 17-song DVD and the 10-track CD are bound to elate Nicks’s legion of fans, who will delight in her performances of beloved originals such as “Landslide” and “Stand Back” as well as renditions of songs by Dave Matthews, Bonnie Raitt, Tom Petty and Led Zeppelin. I spoke with Stevie in late March 2009, on the day before “The Soundstage Sessions” was set for release. Gregg Shapiro: For your first filmed and recorded live show in nearly 25 years, what was it about the Soundstage performance that led you to want to release it as the “Live in Chicago” DVD? Stevie Nicks: Well, what happened was in 2005, we got an offer to do four shows at Celine Dion’s major big theater, the Colosseum at Caesar’s (Palace). I was in Maui and I thought I was going to have another month off and I got a call from my manager and he said, “I need you to come in and see Celine on this stage because she leaves after the show tonight and Elton (John) comes in tomorrow. So you could actually see Celine and Elton in two days and decide whether or not you’d like to do this because they’ve offered you four shows. And getting your foot in the door to play Vegas once in a while is not a bad thing. GS: Not a bad thing, at all. SN: So I’m like sorry, I’m on my Rhiannon-quest here in Maui, so I don’t think I’ll be able to do that. And he goes, “I’ll see you Tuesday.” So, off I went. Waddy (Wachtel), my guitar player and I walked in. We’re sitting there and we watched Celine and then we watched Elton, and we’re like, “Oh, my God, we can’t do this!” You have to build a world here. This is a massive IMAX theater and the screens are a hundred feet tall. You can’t just take your little rock band in there. We’re like, “Can we do this?” Elton filmed everything he ever did and Celine has Cirque du Soleil. What do we have? We look at each other (laughs), (and say) “We don’t have anything! Except, just us.” So we said call everybody that we know and we got every ounce of film that was ever taken of us in the solo world. Every snapshot, every video that was done for any song that ever went out as a single. Anything that anybody had—just put out the call. That’s what we did. And we got everything that we could possibly find. I draw, and we took a bunch of my drawings and photographed them and enlarged them and shrunk them down and mixed all this. We got this artist, Sulamith Wülfing, a German artist, my favorite, she died in 1989, but we got permission to use some of her drawings. So we mixed Sulamith’s drawings, my drawings, all the film footage, pictures, photographs, everything we could find, gave them to our lighting and stage guy and said, “OK, here it is. Go for it, work it out, fix it, put it together. Build a world.” He said, “OK!” That’s what we did. GS: It sounds amazing. SN: We went in there with a world. We did those four shows and they were great. Everybody really loved it and I loved it. Then it was like, “OK, we’re started now.” Between then and August of 2007, we toured with that show, obviously pared down a little bit because we couldn’t take Celine’s screens with us, but basically we took all that that we had done with us. That was my show for two and a half years. At the end of the tour in August 2007, I’m sitting in my living room and I’m thinking to myself, “Once again, this show’s not going to be filmed.” Which means that the next time I go out, I’m going to have to do this same show again, because I’m not going to not film this show. So I called my manager and said, “You’ve got to make some calls. Or you’re soon going to be my ex-friend. Because this show is perfect. It’s about as perfect as I can get. I’ve worked so hard on this thing since the four shows in Vegas two years ago, that I can’t move on until we film this show. It’s really not fair to me to not film this.” GS: Did he make the calls? SN: He did. And he called back and said that Joe Thomas from PBS was very interested in doing it. We had worked with Joe for Live In Boston in 2003 with Fleetwood Mac. I was thrilled, because I loved working with him. This was August, and we went on the first of October to Chicago, rehearsed for three weeks, and filmed it on October 27. We came back to Chicago on February 6 and stayed all of February and all of March and worked six days a week, eight hours a day and just hovered. They were very generous and nice in letting us help with editing and mixing and…letting us be a part of it is a better way to put it. They let us be as involved as we wanted to be, which was great because we wanted to be involved. We loved it, because we loved being in Chicago. And it was the freezing coldest Chicago ever and we had to drive through the battling snowstorms everyday. We had a great time. GS: That’s good to hear. SN: We left at the end of March and then they started putting it together, and that takes a couple of months. It was supposed to be out at the end of summer, but something happened and I don’t even remember what it was. They moved the date to late October. Then everybody realized—“Do we really want to put Stevie up against Barack Obama and John McCain? That was a big no. They didn’t really want to put it out when we were in rehearsal for Fleetwood Mac. So because Lindsey (Buckingham) is taking a break right now, for two weeks because he has three kids and they needed him on Spring Break, we gave him that two weeks and Warner Brothers and PBS said, “Let’s put it out then. Because then Stevie can do some press, she’ll be out on the road. She didn’t want the ski vacation anyway.” I’m just as happy to work. That’s how it got to here. Now you know! GS: Thank you! The songs on the companion CD “The Soundstage Sessions” are cleaned up, in that the audience response to the songs was edited out. Why did you choose to go that route? SN: I said, “Let’s try to make this into a little album. Let’s pull the 10 most unfamiliar songs. Let’s take the Fleetwood Mac songs out and let’s put in “If Anyone Falls,” “Sorcerer,” the Dave Matthews song, the Bonnie Raitt song. Let’s put the unfamiliar things from the show (on the disc) and let’s take the applause off and let’s go to Nashville and redo so vocals and add some strings and make this a distinctly different piece of work that can go out, along with this DVD. They’re not going to just get into their car and listen to what they just saw. You’re actually going to have an eclectic grouping of the more unfamiliar songs with some different vocals, some different instrumentation, some strings added here, some things taken away there. You’re going to have both. You’re going to have the version of “Landslide” on the CD that didn’t go into the show, which is a really spectacularly special “Landslide” because it was really a moment for me where I decided at that point I was going to have to say goodbye to my dad. It’s a very emotional “Landslide” which is not on anything else. From that moment onward, I had made my peace with my father going. GS: I’m so glad that you mentioned “Landslide,” which is included on both the CD and DVD. “Landslide” is a song of yours that has been covered by Dixie Chicks, Smashing Pumpkins, and most recently by Ann Hampton Callaway, who performs it on her new CD. SN: Really? GS: Yes, it’s really lovely. How do you feel when you hear other people’s interpretations of that song? SN: I love it when people actually take it upon themselves to interpret something. It’s no different, really, then me trying to interpret “Crash Into Me” by Dave Matthews. Who would have ever thought that I would have done that? So who would ever think that people would try to do “Landslide.” Because mostly people would be like, “Oh, that’s a Stevie Nicks song, I can’t do that.” And the fact that somebody is brave enough to do that, I think is great! Every time somebody does “Landslide,” it brings it to that generation of listeners. It just takes my music and spreads it out over the world now. I’m always thrilled. I have not heard this new (Ann Hampton Callaway) version of it, but I’m going to go right out and get it. GS: Ann’s a songwriter and cabaret-diva, so you’re reaching my gay brethren through her. SN: I’m so thrilled! GS: Speaking of which, your songs “Edge of Seventeen” and “Gypsy” inspired the gay coming of age movies “Edge of Seventeen” and “Gypsy 83.” Is a gay following something that you have always been aware of? SN: Well, I’ve not always been aware of it. But I became aware of it with Night of a Thousand Stevies. And I am so thrilled. I’m thrilled! Because I want my music to mean something to everybody. I think that every song that I write can be dealt with for whoever you are. When you hear one of my songs, it is about you. Only lately have I started to explain the real stories behind the songs, because I don’t want people to, when they think of “Landslide,” always think of Stevie sitting in Colorado. I want you to think of what it means to you. I want you to think of why it touched you. I am first and foremost a writer. I am thrilled and honored that the gay community backs my music. I always kid everybody that one day, all you Night of a Thousand Stevies people, one day I’ll be there, in complete dress, and you won’t know it. I’ll be hulking around somewhere, standing behind you, so be careful what you say (big laugh), because I could be standing next to you at any moment. http://www.chicagofreepress.com/node/3362 Last edited by RockALittle250; 04-22-2009 at 05:01 PM..
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#8
04-22-2009, 09:21 PM
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#9
04-22-2009, 09:43 PM
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 AND it PROVES that the CD was meant to be something different. (Which it is, ie, BATB, HSML, CRASH, CIRCLE DANCE ect. SO HA! TAKE THAT U "AFTERTHOUGHT" Trumpet blowers
__________________
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#10
04-22-2009, 10:09 PM
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 )
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